Study Guide Music 6A

Guitar Study Guide
Music - 6A
by
Lawrence
Ferrara
1
2
3
i
TABLE OF CONTENTS
SUBJECT Notation, Tab
CHAPTER 1
......................................... GUITAR FINGERBOARD CHART ..............9............9
................................................... PARTS OF THE GUITAR ..............10............10
...................................................................... TUNING ..............11-12.........11-12
........................... GETTING ACQUAINTED WITH MUSIC ..............13............13
.......................................... NOTES VALUES AND RESTS ..............14............14
......................................................... CHROMATIC SCALE ..............15............15
CHORDS OF E, Am, and Dm
............................................................. Dark Eyes ..............16............16
........................................................................... OL, OL .............17............17
...................... E MINOR SCALE ON THE FIRST STRING ..............18............18
CHAPTER 2
......... TOP THREE TREBLE STRINGS (OPEN E, B, & G) ..............19............64
...... BOTTOM THREE BASS STRINGS (OPEN E, A, & D) ..............20............65
ARPEGGIOS
............................................................... Ascending ..............21............66
............................................................. Descending ..............22............67
......................................................... Combination 1 ..............23............68
......................................................... Combination 2 ..............24............69
Copyright 2011 Lawrence Ferrara
ii
CHAPTER 3
................... E, F, AND G ON THE FIRST STRING .....................25-26.......70-71
.......................................................................... A SOALIN ..............27............72
CHORDS OF D, G, AND A7
.......................... When the Saints Go Marching In ..............28............28
.................................................. Oh, How He Lied ..............29............29
.......................................................................... PRELUDE ..............30............73
CHAPTER 4
..................... B,C, AND D ON THE SECOND STRING ..............31-32.......74-75
.......................................................................... ANDANTE ..............33............76
......................................... ANDANTE ACCOMPANIMENT ..............34............34
CHORDS OF G, C, AND D7
................................ For Hes a Jolly Good Fellow ..............35............35
........................................................... ODE TO JOY (duet) ..............36............77
CHAPTER 5
.............................. G, and A ON THE THIRD STRING ..............37-38.......78-79
.............................................................. GREENSLEEVES ..............39............80
....................................................... SONG OF THE WIND ..............40............81
...................................................... FRENCH FOLK SONG ..............41............82
.......................................................... SHORTNIN BREAD ..............42............83
.............................................. SUR LE PONT DAVIGNON ..............43............84
iii
CHAPTER 6
..................... D, E, and F ON THE FOURTH STRING .............. 44-45.......85-86
............................................................ AMAZING GRACE ..............46............87
....................................................................... THIS TRAIN ..............47............88
............................................................ CROSSROADS ..............48-49.......48-49
CHORDS OF A, D, AND E7
...................................................... Blues Traveler ..............50............50
..................................................... CARIBBEAN AIR (duet) ..............51............89
CHAPTER 7
........................... A, B, and C ON THE FIFTH STRING ..............52-53.......90-91
......................................... WALKIN BLUES (12 bar blues) ..............54............92
.......................................... HOUSE OF THE RISING SUN ..............55............93
..................................... DUST IN THE WIND (Travis Pick) ..............56............56
CHAPTER 8
E. ......................... F, AND G ON THE SIXTH STRING ..............57-58.......94-95
................................................................................. LEYENDA . 59-61.......96-98
................................................................................ VALS.. ..............62............99
............................................................... MALAGUEA... ..............63............100
APPENDICES
SCALES
............................................................................................. Major 101
............................................................................................. Minor 102
........................................................................... Major Pentatonic 103
iv
........................................................................... Minor Pentatonic 104
............................................................................................. Blues 105
TECHNIQUE
.................................................... Left Hand Accuracy 1, 2, 3 106-108
...................................................................... Sequential Exercise 109
................................................................ Right Hand Studies 110-111
......................................................................................... Tremolo 112
RHYTHMIC EXERCISES
........................................... Quarter, Half, Whole Notes, and Ties 113
.................................................................................. Syncopation 114
............................................................................ Sixteenth Notes 115
ADDITIONAL REPERTOIRE
........................................................... A Soalin (with counterpoint) 116
............................................................................ Two Guitars 117-120
..................................... Sur la Pont DAvignon (solo version) 121-122
........................................................................................ Fr Elise 123
.................................................................... Romance I, II, III 124-126
..................................................................................... Etude 127-128
........................... ACOUSTIC GUITAR ARTICLE ON PLANTING 129-133
CHECKLISTS
..................................................................................... Technique 134
...................................................................................... Musicality 135
v
CHORDS
........................................................................... Beginner Chords 136
......................................................................... Advanced Chords 137
NOTATION AND TAB PAPER
.......................................................................... Blank Staff Paper 138
................................................. Blank Staff and Guitar Tab Paper 139
................................................................. Blank Guitar Tab Paper 140
........................................................................... REFERENCES 141-143
.................................................................... ACKNOWLEDGMENTS 144
................................................ AUTOBIOGRAPHICAL STATEMENT 145
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Parts of the Guitar
upper bout
soundhold
lower bout
neck
tuning pegs
frets
waist
bridge
Tuning and arrangement of open strings
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D
4
G
3
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1

The Left Hand
The finger comes down just behing the fret wire.
The thumb is held behind the neck and each finger
comes down vertically on it's extreme tip.
Playing Position
The guitar is held with the following
points in mind.
1. You should sit on the front of the chair.
2. Hold the guitar by making contact with -
a. The left leg, supported 6" off the ground
b. The right inner thigh.
c. The chest.
d. The right arm, over the edge.
Free Stroke
The tip of the right hand finger pushes the
string down and glides freely over adjacent string,
producing a soft and delicate tone.
Rest Stroke
The tip of the right hand finger pushes the
string down and in and afterwards leans onto
adjacent string, producing a round and full-
bodied tone.
Right and Left Hand Symbols
! ! Left Hand:
!0=open string
! ! 1=index finger
!2=middle finger
!3=anular finger
!4=little finger
A
Right Hand:
p=thumb (pulgar)
i=index
m=middle
a=anular

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Chromatic Scale

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soundhold
Playing Position
The guitar is held wit h the f ollowing
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1. You should sit on the front of the chair.
2. Hold the guitar by making contact wit h -
a. The left leg, supported 6" of f the ground
b. The right inner thigh.
c. The chest.
d. The right arm, over the edge.
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Free Stroke
The tip of the right hand nger pushes the
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The Left Hand
The nger comes down just behing the fret wire.
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frets
waist
bridge
Tuning and arrangement of open strings
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Right and Left Hand Symbols
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0=open string
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2=middle nger
3=anular nger
4=little nger
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Rest Stroke
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p=thumb (pulgar)
i=index
m=middle
a=anular
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10
Tuning
It is essential to get your guitar in tune so the pieces you play sound musical. You can train you
ear to hear slight differences in pitch with practice. Start by hearing a reference tone and then
compare that tone to certain pitch on your guitar (open string or fret). If the guitar string is sharp
(higher) or at (lower) than the given reference pitch, you adjust it to match. This whole process
will rene your hearing and you will begin the basics of ear training.
In the beginning stages you can use various aids in order to get you in tune.
1. Matching pitches. Tuning your open strings to another instrument such as a piano, another
guitar, or a recording.
2. Fifth fret tuning. Tuning the guitar to itself (starting with a tuning fork, or a metronome, to get
you up to concert pitch = A 440).
3. Tuning to an electronic tuner
Matching Pitches
Using a piano's 12th white key from the lowest note (left end of the keyboard), match the 6th
open string to the "E" note. Then match the remaining ve strings to the equivalent key marked
below:
Five Fret Tuning (tuning the guitar to itself)
This method involves nding notes of the same pitch on different strings and then comparing the
two. The most common pattern is below:
6th string 5th fret = 5th open string
5th string 5th fret = 4th open string
4th string 5th fret = 3rd open string
3rd string 4th fret = 2nd open string
2nd string 5th fret = 1st open string
Tuning
It is essential to get your guitar in tune so the pieces you play sound musical. You can train you
ear to hear slight differences in pitch with practice. Start by hearing a reference tone and then
compare that tone to certain pitch on your guitar (open string or fret). If the guitar string is sharp
(higher) or at (lower) than the given reference pitch, you adjust it to match. This whole process
will rene your hearing and you will begin the basics of ear training.
In the beginning stages you can use various aids in order to get you in tune.
1. Matching pitches. Tuning your open strings to another instrument such as a piano, another
guitar, or a recording.
2. Fifth fret tuning. Tuning the guitar to itself (starting with a tuning fork, or a metronome, to get
you up to concert pitch A 440).
3. Tuning to an electronic tuner
Matching Pitches
Using a piano's 12th white key from the lowest note (left end of the keyboard), match the 6th
open string to the "E" note. Then match the remaining ve strings to the equivalent key marked
below:
Nut
II HI
6th 5 t h
6th string 5th fret 5 t h open string
5th string 5th fret 4 t h open string
4th string 5th fret 3 r d open string
3rd string 4th fret 2 n d open string
2nd string 5th fret 1 s t open string
4th
Five Fret Tuning (tuning the guitar to itself)
3rd fret
II
t 1 1 t
3rd 2nd 1 s t
Middle C
111
This method involves nding notes of the same pitch on different strings and then comparing the
two. The most common pattern is below:
5th fret
11
Electronic Tuner
Electronic tuners make tuning your guitar very easy. They indicate the exact pitch of each string
while telling you (with an led display) if your guitar string is sharp, at, or right on pitch. There is
either a microphone built into the tuner the detects the vibration of air that your guitar string is
producing or a motion sensor that feels the beats per second the moving string is putting out
along the guitar neck.

Tuning by Octaves and Unisons
Play the 7th fret E on the 5th string
Tune the open 6th string to this note (one octave down).

Tune the open 1st string to this note (one octave up).
Play the 5th fret D on the 5th string
Tune the open 4th string to this note (by unison)
Play the 2nd fret B on the 5th string
Tune the open 2nd string to this note (one octave up).
Play the 10th fret G on the 5th string
Tune the open 3rd string to this note (by unison)
Electronic Tuner
Electronic tuners make tuning your guitar very easy. They indicate the exact pitch of each string
while telling you (with an led display) if your guitar string is sharp, at, or right on pitch. There is
either a microphone built into the tuner the detects the vibration of air that your guitar string is
producing or a motion sensor that feels the beats per second the moving string is putting out
along the guitar neck.
aEmRauc MINER
MC
1 4
\ Z
O
W
E
R
1
Tuning by Octaves and Unisons
Tune the open 6th string to this note (one octave down).
Tune the open l st string to this note (one octave up).
Play the 5th fret D on the 5th string
Tune the open 4th string to this note (by unison)
Play the 2nd fret B on the 5th string
Tune the open 2nd string to this note (one octave up).
Play the 10th fret G on the 5th string
Tune the open 3rd string to this note (by unison)
12
Getting Acquainted With Music
STAFF

MEASURES
CLEFS
Musical sounds are indicated by symbols called NOTES. Their time value is determined
by their color (white or black) and by stems and flags attached to the note:
The notes are named after te first seven letters of the alphabet (A-G), endlessly repeated to embrace the
entire range of musical sound. The name and pitch of the note is determined by its position on the five
horizontal lines, and the spaces between, called the...

1st LINE
2nd LINE
3rd LINE
4th LINE
5th LINE
1st SPACE
2nd SPACE
3rd SPACE
4th SPACE

E G B D G F A C E

Music is also divided into equal parts called....
One measure is divided from another by a BAR LINE

During the evolution of musical notation, the staff had from 2 to 20 lines, and symbols
were invented to locate certain lines and the pitch of the note on that line. These
symbols were called...
Music has three clefs, the C, F and G clefs. The entire
range of the Guitar can be written in the G clef and is
used exclusively in this book. Originally the Gothic
letter G was used on a four-line staff to establish
the pitch of G:

&
w

J

j
NOTES ON THE LINES NOTES IN THE SPACES

It grew into
the modern
G clef
Getting Acquainted With Music
Musical sounds are indicated by symbols called NOTES. Their time value is determined
by their color (white or black) and by stems and ags attached to the note:
The notes are named after te rst seven letters of the alphabet (A-G), endlessly repeated to embrace the
entire range of musical sound. The name and pitch of the note is determined by its position on the ve
horizontal lines, and the spaces between, called the...
STAFF
1st LINE
3 r d LI NE
2nd LINE
4th LINE
NOTES ON THE LINES N O T E S IN THE SPACES -
1
E G B D G
Music is also divided into equal parts called....
5th LINE
1st SPACE
M E A S U R E S One measure is divided from another by a BAR LI NE
During the evolution of musical notation, the staff had from 2 to 20 lines, and symbols
were invented to locate certain lines and the pitch of the note on that line. These
symbols were called...
CLEFS
Music has three clefs, the C, F and G clefs. The entire
range of the Guitar can be written in the G clef and is
used exclusively in this book. Originally the Gothic
letter G was used on a four-line staff to establish
the pitch of G:
2nd SPACE
It grew into
the modern
G clef
3rd SPACE
4th SPACE
A C E
13
Notes Values and Rests
Rhythm Chart

The following charts indicate HOW MANY BEATS various NOTES and RESTS would get in time. You
can accurately measure the duration of each note by: (1) TAPPING your FOOT - to keep track of the beat, (2)
by COUNTING the number of beats given to each note. Notice that in the case of the EIGHT NOTE, a note
is played on both the DOWN and UP of the BEAT.
To understand the values of NOTES and RESTS (signs of silence) in the music, you must understand what is
meant by BEAT. The beat is the regularly or sometimes irregularly recurring pulsation of the music. When
listening to music, tap your foot to the beat of the music. You will discover that the BEAT is divided into:
note Count 1 2 3 4
Tap
DOWN
and
UP
When your foot is Down
When your foot is Up
note Count 1
Tap
!
!

rest
note Count 1
Tap
rest

note Count 1 2
Tap

note Count 1 2 3
Tap
rest
NOTE: A dot adds one-half
the value of the note
rest

ONE
WHOLE
NOTE
TWO
HALF
NOTES
FOUR
QUARTER
NOTES
EIGHT
EIGHTH
NOTES

count
count
1 2 3 4
= 4 BEATS
= 4 BEATS

1 2 3 4

count
count
Tap
1 an 2 an 3 an 4 an
1 2 3 4
= 4 BEATS
= 4 BEATS
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Notes Values and Rests
To understand the values of NOTES and RESTS (signs of silence) in the music, you must understand what is
meant by BEAT. The beat is the regularly or sometimes irregularly recurring pulsation of the music. When
listening to music, tap your foot to the beat of the music. You will discover that the BEAT is divided into:
Rhythm Chart
DOWN A i d
and
UP 4
4 *
When your foot is Down
When your foot is Up
4
The following charts indicate HOW MANY BEATS various NOTES and RESTS would get in 4 time. You
can accurately measure the duration of each note by: (1) TAPPING your FOOT - to keep track of the beat, (2)
by COUNTING the number of beats given to each note. Notice that in the case of the EIGHT NOTE, a note
is played on both the DOWN and UP of the BEAT.
co not e Count c
i 2
3
4
r est
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"
# # $
# # $
# # # %
# # %
#
# # %
# # %
# # %
#
8 9 10 11 12 12 11 10 9 8 7 6 5 4 3 2
13
!
"
"
#
# # %
# # %
#
# # %
# # %
# # %
#
# # %
#
#
1 0
4 3 2 1 0
3 2 1 0
4 3 2 1 0
17
!
"
"
# %
#
# # %
# # %
# # %
#
&$
# 4 3 2 1 0
4 3 2 1 0
9
13
17
#
#
Chromatic Scale
1
T
A
B
o 1 2 3
# # #
0 1 2
4
3 4
0 1
2 3 4
0
J
J#
J
#
0
,
[,
1 2 3
1 2 3 4
r
2 3
r I' 'r
-
4 5 G 7
0 o 10 1 1
T
A
B
12 1 2 1 1 1 0 o 0 7 G 5 4 3 2
1?
1)
Three Octaves
r
I,a
r
1 0
4 3 T
A
B
17
r
1)
r r r
2 1 0
3
J J
J J
17
2 1 0
4
J J
17 a
3 2 1 0
1 - w [ I ; -
[ !
A
B 4 3 2 1
1?
0
4 3 2
1
1
15
Oh
No,
these
E
not sad
gorgeous
am
eyes,
I
dark
nor
A
so
and
mad
glorious
am I
eyes
All
Burn
my
with
D
passion
comforts lie
eyes
in
how
my
you
destiny.
hypnotise How
Just
I
to
adore
realize
your so, how
my
I
lifes
fear
worth iest
- you though,
prize
7
Since
Did
I
I
saw
sacrifice
you glow
for
now
those
my
ardent
spirits
eyes
low.
13
4
4 &
E Am E
Primary Chords in the Key of Am
Dark Eyes
&
Am Dm Am
&
E7
Am

#

j

#

j

#
j
1 2 3 2 2 1 2 3 2 2 2
2 2 1 1
<#>

j

J

0 1 0
2 2
1 3 1 0
3
1 0 0
2
2
#

j

j
w
1 2 3 2 2
2 3 2 0 0
Ol Ol
4
7
10
13
16
4
4 &
arranged by Larry Ferrara Spanish Traditional
&
&
&
&
&
rallentando - - - - - - - - - - - -
0
2
2
1
0
0
0
3
3
2
0
0
0
2
2
1
0
0 0 1 3 1 0
0
2
2
1
0
0
0
3
3
2
0
0
#
#

w
w
w
w
w
w
#
0
2
2
1
0
0 4 5 7 5 4
0
2
2
1
0
0
0
3
3
2
0
0
0
2
2
1
0
0
#

b

#
0
2
2
2
0
0
3
3
3
0
0
2
2
2
0 5 6 8 6 5
0
2
2
2
0
0
3
3
3
0
#
#

#
w
w
w
w
w
#
0
2
2
2
0 9 10 12 10 9
0
2
2
2
0
0
3
3
3
0
0
2
2
2
0
0
2
2
1
0
0
0
3
3
2
0
0
0
2
2
1
0
0 0 1 3 1 0
0
2
2
1
0
0
0
3
3
2
0
0
#
#

w
w
w
w
w
w
#
0
2
2
1
0
0 4 5 7 5 4
0
2
2
1
0
0
0
3
3
2
0
0
0
2
2
1
0
0
17
3
5
7
4
4 &
#
Diatonic scale
E minor Scale on the First String
&
#
&
#
3
3
3
3
3
3
3
3
Arpeggiated E minor Scale on the First String
a
m i a m i
a m i a m i
&
#
3
3
3
3
3
3
3

0 2 3 5 7 8 10 12
10 8 7 5 3 2 0
0

0
0
0
2
0
0
3
0
0
5
0
0
7
0
0
8
0
0
10
0
0
12
0
0
10
0
0
8
0
0
7
0
0
5
0
0
3
0
0
2
0
0
0
0
0
0
3
5
L
B
7
A
tt
3
3
a m i a i n a i n
E minor Scale on the First String
- 0-
3 5
[ T
A
AL
if r
10 0
7 5
[ T
A
3 2 0
0
Arpeggiated E minor Scale on the First String
3
a
3
3
3
10 1 2
3
Di atoni c scale
3
18
E, B, & G
Notes on the First Three Open Strings
2
4
6
8
10
13
16
3
4
3
4
&
Open Open Open
&
Ex. 1
i
m
i m
i
m
i
m
i
&
m i m i m i m i m
&
i m i m i m i m i
&
m i m i m i m i m
&
Ex. 2
i
m i m i m i
&
m i m i m i m
&
i m i m
w
w
w

Ex. 1
2
8
10
16
In
13
Ex. 2
I I
I I
I I
E, 13
1
&
G
t 1
( 3
Open 10 Op e n 0 Op e n 0
I I
In
In
Ct
I I
I I
In
I I
L_F
1
I I
a
1
19
E, A, & D
Notes on the Open Bass Strings
2
4
6
8
10
12
14
16
4
4
4
4
3
4
3
4
&

&
Ex. 1
D6 Open
Open Open
D6
&
E7(4) E7
&
A E7
&
E7 A
&
Ex. 2
A7(4) E7(4)
&
A7
1
3
2
D
&
D A
&
E7 A
w
w
w
4
6
8
14
16
E m 7 ( S U S 4 )
0 0 0 0
A
xo 0
A7(sus4.)
Ex. 2 xo 0
/0
A
7
X0 0 0
Dm
xxo
E7
0 0 0 0
NE
E
l
A
I
&
D
E7
o 0 0 0
ME
E7
o o oo
- 6-
-
1r
-
'.-
E7(SUS4)
0 0 0 0
ME N E
A
00 0
A
xo 0
li
-EP-
1g
- 6- - 6-
-6-
4
Co
-dP
- 77
-
4P
-
- 6-
20
11
4
4 &
Ex. 1
E, G, B, E
p - i - m - a
Ascending Arpeggio
&
&
Ex. 2
&

w
11
Ex. 1
Ex.
Ascending Arpeggio
p - i - m- a
-
WP
-
-
c
y
-
E, G, B, E
21
11
4
4 &
Ex. 1
p - a - m - i
E, E, B, G
Descending Arpeggio
&
&
Ex. 2
&

w
4
4
Ex. 1
Ex. 2
-
WV
Descending Arpeggio
p - a - m- i
-
WV
7
-
-
7
-
-
-
WY -
c
r
E, E, B. G
-dP- AP-
8 - - - - - - - -
-dP-
11
7
-
7
-
7
-
1
22
4
10
13
16
3
4 &
Ex. 1
E, G, B, E, B, G
Ascending and Descending, p - i - m - a - m - i
Combination Arpeggio, #1
&
&
&
Ex. 2
&
&
7
10
13
16
Ex. 1
Ex. 2
Ascending and Descending, p - i - m- a- m- i
E, G, B, E, B, G
dp d p
dp d p
mdoo"'ss
.
;
23
11
4
4 &
Ex. 1
E, A, D, G, B, E
Combination Arpeggio #2
&
&
Ex. 2
&

w
I T
a
r
.
.
"
.
"
.
n
.
"
a
r
m
'
'
'
'
'
"
.
.
.
.
.
.
.
"
a l
l
"
m
m
o
4
-
-
I T W
d i
r
m
. .
. .
. .
m
. .
. .
. .
. .
-
-
I F
d i
r
' '
'
'
. .
. .
"

1
8
11
Ex. 1
Ex. 2
E, A, D, G, B, E
I T
I: w
a
a a
a
a a
-4P-
a
a
a a a a
a a
a a
a a a a
a a
a a a a
1
24
E, F, & G
Notes on the 1st string
2
4
6
8
10
12
14
16
4
4
4
4
&
&
Ex. 1
Open 1st fret 3rd fret
&
&
&
&
Ex. 2
&
&
&
w
w
w

w

w
2

4
6

7
7

8
10
Ex. 1
E
,
F
/
&
G
Notes on the 1st string
Cio
7 7 7 7

7 7
7
7
Clo
Ex. 2
Open 1 s t fret 3 r d fret
1

7
l 7

12
7 7 r
to to t o
14
7
7 7 7

/6
7
7
7
4.1
25
4
7
10
13
16
4
4 &
Ex. 3
&
&
&
Ex. 4
&
&

w
4
r r
7
r 7 7
0 )
7
7
4. 1
1
10
13
16
Ex. 3
Ex. 4
1
7
7 7 7
e ; e ;
7
dr
7 7
0.-
7 l 7
4. 1
1
26
5
9
13
17
21
25
29
2
4 &
#
i m
i
m
i
m i
m
i
A Soalin
American Traditional
&
#
m
etc.
&
#
&
#
&
#
&
#
&
#
&
#
5
9
13
17
21
25
29
M
etc.
A Soalin
TP
7
7
r
.
r
if
7 7
7

7
s
#
7
0.-
7
7
r
.
7

s
#
7
7
r
.
r
if
s
#
7 7
7

1
27
5
9
13
4
4 &
#
Prelude
E minor arpeggio study
&
#
Fine
&
#
&
#
D.C. al Fine
&
String:
Fret: open 2nd 3rd 5th 7th 8th 10th 12th

w
w
w

w
w
#

J
C I
-
c
r
-
C
F
: I
-
Prelude
-
c
r
-
C
F
1:7I
-
J
-
C
Y
-
C
3
-
Fret: o p e n 2 n d 3 r d 5 t h 7 t h 8 t h l O t h 1 2 t h
#7
1
String:
-
c
r
-
C
Y
-4E10-
-
C
r
Fine
D.C. al Fine
28
Oh,
Oh,
when
when
1
3
2
D
the
the
saints
air
go
is
- march
pure
2
1
3
G
ing
and
- in.
clean
- Oh,
Oh, -
when
when
the
the
1 2
A7
saints
air
go
is
march
pure
ing
and
- in.
clean.
How
How -
I
I
want
want
to
to
be
be
in
in
that
that
num
num
ber
ber
-
-
-
-
7
When
When
the
the
saints
saints
go
go
march
march
ing - in.
-
-
13
4
4 &
#
#
D
Primary Chords in the Key of D
(D, G, and A7)
When the Saints Go Marching In
&
#
#
A7 D G
&
#
#
D A7 D

w

w

0 4
0 2 2
0 4
0 2 2
0 4
0 2
4
0 4 2 2 4 2 0 0 4
2 2 2 0

w w
0
4
0 2
4 2 2 0 0
A
4
A o
r-,
r
-
!
-
l
i
o
l
w
-
i
m
t
_
: I
1 .
-
tr
m
-
r ,
r i .
-
,
When t he s ai nt s
When t he s ai nt s
m
-
0
march -
march
0
ing
-
CI oLl
in. -
v os t a = 1
. -
. . . . . 1 1 1 1 1 1
-
j
r-,
Co
A . . . .
,
1 1 1 1
1 1 1
-
al
di
J
T
r-,
Oh, when the
Oh, when the
saints -
air
go march-ing i n . -
is pur e and c l e a n -
Oh, when the saints
Oh, when the a i r
go
is
- i ng
and
, - - -
How
How
0
I w a n t
I w a n t
to b e
to b e
in
in
that number -
that number -
in
clean. -
B
4
T
4 2 2 0
0 . .
A
0 2 2 0 2 2 0 2
B
0 4 0 4 0 4 4
2 2 2 0
B
0 4
4 r-,
: I
tr
r ,
,
When t he s ai nt s
When t he s ai nt s
go
go
0
march -
march
0
ing
-
CI oLl
in. -

j
r-,
Co
al
di
J
T
r-,
0
march
pure
- i ng
and
, - - -
How
How
0
I w a n t
I w a n t
to b e
to b e
in
in
that number -
that number -
in
clean. -
B
4 4 2 2 0
0 . .
T
A
2 2 2 0
B
0 4 2 2 4 2 0 0 4
4 r-,
: I i . r ,
,
When t he s ai nt s
When t he s ai nt s
go
go
0
march -
march
0
ing
-
CI oLl
in. -
T .
A
0 0 2
B
4 4 2 2 0
0 . .
7
/ 3
A7
G, and A7)
0 0 0
When the Saints Go Marching In
A7
A
7
x 0 0 0
29
1
3
2
D
She
He
sat
told
there
her
be
he
side
loved
- him
her
2
1
3
G
and
but
played
oh,
her
how
gui
he
tar,
lied,
-
1 2
A7
Played
Oh,
her
how
gui
he
-
tar:
lied:
played
oh,
her
how
gui
he
tar.
lied.
- She
He
sat
told
there
her
be
he
side
loved
- him
her
and
but
played
oh,
her
how
gui
he
-
7
tar,
lied,
Played,
Oh,
her
how
gui
he
t
l
- a
i
-
- e
-
-
r.
d. -
13
3
4 &
#
#
D A7
(D, G, and A7)
Oh How He Lied
&
#
#
D
&
#
#
A7 D

J

J
2 2
4
3
2
4
0 2
2
3
2 0
0
2

J
0 2
2
3
2 2 2
4
0 2
4
0 2
2
3

2
0
0 2 3
2
4 0
13
'
;,..
a.
a
e.
a
: I
a .
r,
a
1 t i P
C)
tar, P l a y e d , h e r g u i - t - a - r .
lied, O h , h o w h e 1 - i - e - d .
0
r
-
,
3
a
A 2
B

0
She s a t there be -
He t o l d her h e
side hi m and played her
loved her but o h , how
gui - tar,
he l i ed,
Played her
Oh, how
gui -
he
2
played her
oh, how
1 ,
)
- -
, ,
gui - tar. S h e s a t there
he l i ed. H e t o l d her
be - side hi m and played her
he l o v e d her b u t o h , how
0
T 3 3
2
2
A
2 2
3
2 0 2 2 0
A
B
4 4
2 0 2 0 2
B
4 4
a.
e.
a
: I
,
r,
a.
1 t i P
C)
lied, O h , h o w h e 1 - i - e - d .
0
a
T
0 2 3
A 2
B

0

tar:
lied:
played her
oh, how
1 ,
)
- -
, ,
gui - tar. S h e s a t there
he l i ed. H e t o l d her
be - side hi m and played her
he l o v e d her b u t o h , how
I
)
gui -
he
2 2
T 3 3
A
0 2 2 2 2 0 2 0 2
B
4 4
e.
a
: I
,
r,
r r P
1 t i P
C)
lied, O h , h o w h e 1 - i - e - d .
0
T 0 2 3
A 2
2
B
4
0
1
(D, G, and A7)
0 0 0
A7
Oh How He Lied
A
7
x 0 0 0
A7
30
Notes on the 2nd String
B C and D
2
4
6
8
10
12
14
16
4
4
4
4
&
&
Ex. 1
&
&
&
&
Ex. 2
&
&
&
w
w
w

w
2
6
8
0
7
7
7 7 7
7 7 7
1
0
1
12
4r)
14
7 7 7
16
Ex. I
Ex. 2
B C and D
Open 1 s t fret 3 r d fret
31
4
7
9
11
13
15
4
4 &
Ex. 3
&
&
&
Ex. 4
&
&
&

w

w

4
40
7
r
r
7
9
11
43)
13
15
Ex. 3
Ex. 4
I

o o
7 7 7
40
7
7 7 7
7 7
7 7 7
r
32
Andante
4
7
10
13
15
3
4 &
&
&
&
&
&
r l
r
4
7 7 7
7
r
l 7
10
13
15
Andante
r
7
r r
7 7 7
7 7
7
r
33
(accompaniment)
Andante
4
7
10
13
15
3
4 &
&
&
&
&
&

#

3
0
2
0
2
0
0
2
0
1
0
2
2
4
0
3
0
4
#

2
4
0
3
0
4
0
2
0
1
0
2 0
2
1
3
1
2

3
0
2
0
2
0
3
0
0
0
0
0
3
0
2
0
2
0

#

#

0
2
0
1
0
2
2
4
0
3
0
4
2
4
0
3
0
4

0
2
0
1
0
2 0
2
1
3
1
2

3
0
2
0
2
0
3
2
0
3
0
2
------;
a
[ T 2
0
A 0 2 0
B
3
-dP-
- -
I
I
o o
2 2
0
W
-
3
o o
4 4
2
7
L
B
2
4
13
15
4
Andante
(accompaniment)
2 2
0
[ 0
A
T 1
A
B
2 2
0 0
3
W
0
0 0
0 0
3
V '
0
2 2
0 0
3
1
1
0
[ T
A
B o
o o
2 2
3
4 4
2
d P _
3
2
4
,
. 1
- -
- -
-
:
p.
1
0 0
2 2
2 2
0
7---
:
0
2 2
lp
-
[ T
A o
B
3
0
V"
a
2 2
3
34
English and American Traditional
For He's a Jolly Good Fellow

5
9
13 Fine
21
D.C. al Fine
3
4 &
For he's
G
a Jo ly - good fell
C
ow,
G
- For
&
he's
D7
a jo ly - good fell
G
ow, - - For
&
he's a jol ly - good fell
C
o - ow - that
&
no
G
bod y - can
D7
de ny.
G
-
&
That no
G
bod y - can
C
de ny
G
- That
&
no bod y - can
C
de ny
G
- - - - - -

35
Guitar 1
Guitar 2
Gtr. 1
Gtr. 2
4
Gtr. 1
Gtr. 2
7
Gtr. 1
Gtr. 2
10
Gtr. 1
Gtr. 2
13
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Crossroads
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48
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2 2 0 2
2 1 0
0 3 0 0 0
2
0
1
0
3
1
r a L w
I M
1 A l l + 1
1
1
.
1 4
.
1
1
1
E R R =
bur m i m m m m m r
,
m m r
,
m
bur
W W W W W W W "
[ick
i p- - 0 - _ 0 _ _ 0 _ _ 0 _
w w w w w w w w
-
2 2 2 2 2 2 4 4 4 4 4 4 4 4 2 2 2 2 2 2 2 2 4 4 4 4 4 4 4 4
2
2
2
0 0 0 0 0 0
I . I
w w
Now mm
11

P u r
-
W A I F W W W , m nor Aw
-
r a. m:dr E:pwm:pm:r r :pwm:r m 1:dr r :. ww:r m:. nowm:r
1
: r : ; M i M M T M T
,
M W E W E M M E
l l
I N
M ,
c:a1 1 6
,
=
W M 1
,
=
W =
, 4
= W -
4
W

4
=
W
-
4
=
, -
4
M.
-
,
,
-
4
=
M W
,

W
,
- -
M
R m ! m ! m ! ! =
21
a
W ' W
W A W Z
I r a u
-
W f
=
=
W
W
= 1 3
,
M Z
W
,
.
=

k
=
k
M
I N I N
, , B E
E r w m w m
,
m w m
E r m
m m w m

m
w
m
w m
m. 1
m m
W M M W M M
IA M W M M M W
M M M
A

2 2 0 2
2 0
0 3 0
4
t
(
)
8
-
C
r
3
0
1
0
2
0
1
1
49
1 2 3
A
1
3
2
D
2
1
E7
7
13
4
4 &
#
#
#
A
Primary Chords in the Key of A
(I, IV, and V7)
A7 D
A
&
#
#
#
A E7 D A
&
#
#
#
. .
A

0 4
2 4
2
4 2
4 0 4
2 4
0
4 2
4
0 4
2 4
3
4 2
4

0 4
2 4
2
4 2
4
0 4
2 4
0 4
2 4
0 4
2 4
2
4 2
4

w

0 0 0 0
Blues Traveler
50
Guitar 1
Guitar 1
Guitar 2
All day, all night Mar i - anne - down by the sea shore -
Gtr. 1
Gtr. 1
Gtr. 2
7
sift ting - sand All - - - of the peo ple - love Mar i - ann - -
Gtr. 1
Gtr. 1
Gtr. 2
12
e do - wn - by the sea shore - sifting sa nd.
4
4
4
4
&
C G7
Caribbean Air (Marianne), Duet
Calypso Traditional
&
&
C G7
&
&
C
&

w
51
13
4
4
4
4
&
A B C

A, B, & C
Notes on the 5sth String
&
Ex. 1
open 2nd fret 3rd fret
&
&
Ex. 2
&
w
w
w

w
52
3
6
9
12
15
3
4 &
Ex. 3
&
&
&
&
&

53
Guitar
C7
Gtr.
F7
4
Gtr.
C7 G6
7
Gtr.
F6 C6
10
Gtr.
G C7
12
4
4 &
Walkin Blues
&
&
&
&

b

b

b

n

b

n

w
w
w
w
w
b
54
A C
1
3
2
D F
A C E
5
A C
1
3
2
D F
9
A E A
13
E A
1. 2.
16
3
4 &
House of the Rising Sun
&
&
&
&

#

#

55
Merle Travis
Travis Pick
Kerry Livgren (Kansas)

Dust in the Wind
5
10
15
4
4 &
m p
i p m p m p i p m p
m p
i p m p
m p
i p m p
m p
i p m p m p i p m p
m p
i p m p
m p
i p m p
&
Introduction
C
m p
i p m p
Cmaj7
m p
i p m p
Csus2
m p
i p m p
C
m p
i p m p
Asus2
m p
i p m p
m p
i p m p
m p
i p m p
m p
i p m p
m p
i p m p
m p
i p m p
&
Asus4
m p
i p m p
Am
m p
i p m p
Asus2
m p
i p m p
Csus2
m p
i p m p
C
m p
i p m p
m p
i p m p
m p
i p m p
m p
i p m p
m p
i p m p
m p
i p m p
&
Cmaj7
m p
i p m p
Csus2
m p
i p m p
Am
m p
i p m p
Asus2
m p
i p m p
Asus4
m p
i p m p
Am
m p
i p m
G
p
m p
i p m p
m p
i p m p
m p
i p m p
m p
i p m p
m p
i p m p
m p
i p mp

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

3
1
2
3
2
0
2
3
1
2
3
0
2
3
2
0
2
3
0
2
3
3
2
3
2
0
2
3
3
2
3
1
2
3
2
0
2
3
1
2
0
0
2
0
2
2
2
0
0
2

0
3
2
0
2
2
2
0
3
2
0
1
2
0
2
2
2
0
1
2
0
0
2
0
2
2
2
0
2
2
3
3
2
3
2
0
2
3
3
2
3
1
2
3
2
0
2
3
1
2
3
0
2
3
2
0
2
3
0
2
3
3
2
3
2
0
2
3
3
2
0
1
2
0
2
2
2
0
1
2
0
0
2
0
2
2
2
0
0
2
0
3
2
0
2
2
2
0
3
2
0
1
2
0
2
2
0
3
0
0
0
56
12
16
4
4
4
4
&
E F G
E, F, & G
&
Ex. 1
&
&
Ex. 2
&
w
w
w
w

w

w

w
57
5
9
14
20
4
4
2
4
2
4
&
Ex. 3
&
&
Ex. 4
&
&

58
Leyenda
4
7
10
13
16
6
4 &
&
&
&
&
&

w
59
Leyenda
Isaac Albeniz
(1860-1909)
4
7
10
13
16
6
4 &
&
&
&
&
&
w
60
Leyenda
Isaac Albeniz
(1860-1909)
5
9
13
17
20
23
6
4 &
m
&
&
&
&
p
i
0
a
0
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
&
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
&
3
3
3
3
3
3
3
3
3
3
3
3
3

w
61
Vals
Bartolome Calatyud
10
18
23
33
39
3
4 &
#
&
#
&
#
&
#
&
#
&
#
Arm 12
O
O
O
O
O
O
62
E Am
E
5
E
Am
9
E
13
17
21
E
25
29
E
37
3
4 &
Malaguena
Spanish Traditional
&
&
&
&
&
&
&
&
#

#

#

n

#

#

n

#

n

63
E, B, & G
2
6
10
14
3
4
3
4
&
&
Ex. 1
i
m i m i m i m i m i m i m i m i m
&
i m i m i m i m i m i m i m i m i m
&
Ex. 2
i
m i m i m i m
&
i m i m i m i m i m
w
w
w
0
0
0

0 0
0 0
0 0
0
0
0
0 0
0 0
0 0
0
0
0

0 0
0 0
0 0
0
0
0
0 0
0 0
0 0
0 0
0

0 0
0
0 0 0
0
0

0 0
0
0 0
0 0 0
0
0
2
0 0
in i in i
t
0 0
0 0
in
i l l
dr
in
6
14
Ex. 1
Ex. 2
in j i n i i n
in
i
i
E, 13
1
&
G
in j i n j i n j i n j i n
IJ
t
0 0
0 0
A
0 0
dr
0 0
0 0
IJ
d J d P
0 0
0 0
[ T
A
0 0
0 0
0 0
in i i n i i n
1
1
10
[ T
A

in
i
[ T
A
64
Gtr.
Gtr.
D6
D6
E7(4) E7
2
Gtr.
Gtr.
A E7 E7 A
6
Gtr.
Gtr.
A7(4) E7(4) A7
1
3
2
D
10
Gtr.
Gtr.
D A E7 A
14
4
4
3
4
3
4
&
E, A, & D
&
Ex. 1
&
&
Ex. 2
&
w
w
w
0
0
0

0
0
0
0
0
0
0
0
0
0
0 0

w
0
0
0
0
0
0 0 0 0 0
0

0
0
0 0
0
0
0 0
0
0
0
0 0 0 0 0
0
E
x
.
1
,
<
P
,
6
0
2
Gtr.
Gtr.
Gtr.
Gtr.
Gtr.
Gtr.
Gtr.
Gtr.
-dP-
A
6
/4
1 r
A
A7(sus4)
Ex. 2 "
Dm
xxo
E, A, & D
Dm
6
XXO 0
E
7
0 0 0 0
E
7
(
S
U
S
4
)
0 0 0 0
A
4F
-
A
xo 0
E
m
7
(
S
U
S
4
)
0 0 0 0
E
7 0 0 0
A
7
0 0 0 0
E
7
0 0 0 0
E
7
0 0 0 0
A
x0 0
A
65
11
4
4 &
Ex. 1
E, G, B, E
p - i - m - a
Ascending Arpeggio
p i m a p i m a
&
&
Ex. 2
p i m a p i m a
&

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

w
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

w
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
L
B
11
Ex. 1
Ex.
0 o
Ascending Arpeggio
p - i - m- a
0 0
I D
-
E, G, B, E
66
11
4
4 &
Ex. 1
p - a - m - i
E, E, B, G
Descending Arpeggio
p
a m i
p
a m i
&
&
Ex. 2
&

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

w
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

w
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
A
11
A
Ex. 1
a i n i
Ex. 2
a m
Descending Arpeggio
p - a - m - i
4
: 7 7 7
.
[
T
o o o o o
A
B 1 r
-
d
r
o o o o w r d r o o o o w r w o o o o o - c 3 - o
7
-
-
7
-
-
-
c
r
E, E, B. G
67
10
13
16
3
4 &
Ex. 1
E, G, B, E, B, G
Ascending and Descending, p - i - m - a - m - i
p i m a m i
&
&
&
Ex. 2
&
&

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
Ex. 1
Ascending and Descending, p - i - m- a - m- i
E, G, B, E, B, G

in a
0 0 0 0
4
0
[ T
A

0
0
0
0
0
1
1
Ex. 2
7
[ 1
-
A
o
[ T
A
B
I
13
A
0
16
0
0 0 0
0
0
0
0
0 0 0
0
0
0
0
A
0 0
-dP-
0
1
1
68
11
4
4 &
Ex. 1
E, A, D, G, B, E
p i m i a i m i
&
&
Ex. 2
&

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

w
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

w
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
11
Ex. 1
Ex. 2
E, A, D, G, B, E
[ M E I I I M M E
:,..- w -
W w i
-
w
P i m i a i m i
T 0 o 0 o
A o 0 0 o o o o o
B
o 0 0
0 0
0 o 0 0
[
0 U . M O M U . M O M
, - . 1 . : 1 1
1 1 1 1 1
-
C
Y
I
t
4
-
1
.
0
.
j
o
d
E
,
1
1
T
A
B
0
o o
0
0
0
0 o
0 0 0 0
T
A
B 0
W
0
0 0
0 o 0 o
0
I I "
0
-
C
Y
0
69
E, F, & G
Notes on the First String
2
6
10
14
4
4
4
4
&
&
Ex. 1
&
&
Ex. 2
&
w
w
w
0 1 3

0 0 0 1 3 3 0 0 1 1 1 1 3 3 0 0

w
0 0 0 1 3 3 0 0 1 1 3 1 0

0 0 1 3 1 1 0 0 3 3 1 0 1 1 0 0

w
3 3 1 1 1 1 0 0 3 3 1 0 0
Ex. 1
2
[ ' ,
1
2
A
T
B
0 0 1

0 0
a
A I P P
6
14
Ex. 2
E
/
F
/
&
G
Notes on the First String
to t o
0 o o 1 3 3 1 1 1
to
3 3 0 0

7
T
A
B
3 3
7
7
1 1 3 1
C I
0
1
/0
[ T
A
B
A i l P
a
0 0 1 3 1 1 0 0
a
a
3 3 1 0 1 1 0 0
3 3 1 1
T
A
B

1 1 0 0
IP
7
3 3 1 0 0
70
10
14
4
4 &
Ex. 3
&
&
Ex. 4
&

3 0 0 1 3 1 3 0 1 3 1

w
1 3 1 0 0 1 3 1 0 3 1 0

0 1 3 1 3 3 1 0 0 3 1 0 3

w
1 0 3 1 0 0 3 1 0 1 0
14
Ex. 3
r
dr d r
3
[
t
T
A
B
r
r
3
r
3 0
r
3
r
L
0
,
-

0
,
-
r
7
0
,
-
7
o
U10
o
Ex. 4
1
I
m
T
A
B
7
7 7
0 1 3 1
7
3 3 1
, ,
7
3 1 0 3
r
0 3 1
T
A
B
o
7
7
3 1 0 1
C I
o
71
Em D G Em
Em D G B7 5
Em D G Em 9
Em D Em 13
Em D G Em 17
Em D G B7 21
Em D G Em 25
Em D Em Em 29
2
4 &
#
i
A Soalin
i m i m i m i m etc.
&
#
&
#
&
#
&
#
&
#
&
#
&
#

0
0
0
2
0
3 2 0
0
0
0
2
0
3 5 7
0

0
0
2
0
3 2 0
0

0
0
2
3
0 0
0

0
0
2
0
3 2 0
0
0
0
2
0
3 5 7
0

0
0
2
0
3 2 0
0
0
0
2
3
0
0
2
2
0
0
0
Em
2 0 0
0 3 0
0
2
2
0
Em
Em
Em
Em
Em
Em
Em
A Soalin
Em
Em Em
Em
0
i
0
In
0
In
7
e
t
c
.
0
0 0
if
3 5
B7
if
7
Em
0
0
0 0
3 2
0
0
#
3
)
0
#
0
0
[
T
1
0
3 2
3
0
0
0 0
if
5
Em
0
B7
if
7
Em
0
0
0
2
2
2
2
2
0
3 2
0
0
# )
1
1
72
5
9
13
4
4 &
#
Prelude
&
#
Fine
&
#
&
#
D.C. al Fine
&
Fret: open 2nd 3rd 5th 7th 8th 10th 12th
String:

w

0
0
0
0
0
0
7
0
0
0
0
0
0
0
0
0
12
0
0
0
w

w
w
0
0
0
0
0
0
7
0
0
0
0
3
0
0
0
0
0
w

0
3
0
0
0
0
2
0
0
0
0
0
0
0
0
0
7
0
0
0
w

w
w
0
3
0
0
0
0
2
0
0
0
0
7
0
0
0
0
12
#

0 2 3 5 7 8 10 12
5
,

e
-
c
r
[ T
7:75
-
a
o
o o
7
o
A
o
a
a
a a
a
a
[ T
7 3
-
-
c
r
o
-
4
:
3
-
o
-
c
r
7
o o o o o o o o
A
o o o o
B
o o o o
,
-
c
r
[ T
7:75
-
o
o o
7
o
A
o
B
o o
o
o
J
-
c
r
3
o o
o
o
C I
-
c
r
Fine
o
o
9
Prelude
- .1
e
7:75
-
3
[
1
T
A
B
13
o o
o
o
-
C
V
2
o o
o
o
J
7:75
-
o
o
o
o
o
J
-
C
V
7
o o
o
o
-
e
-
c
r
3
o o
[ T
A
B
o
o
J J
J
-
c
r
2
o o
o
o
J J
J
-
c
r
7
o o
o
o
D.C. al Fine
12
o
Fret: o p e n 2 n d 3 r d 5 t h 7 t h 8 t h 1 Oth 1 2 t h
String:
0 1 2
r i
-
4
1
.
7
r
0 2 3 7
A
B
1
- Et -
73
B C and D
2
6
10
14
12
4
4
4
4
4
&
&
Ex. 1
&
&
Ex. 2
&
w
w
w
0 1 3

3 0 3 0 1 1 1 1 3 0 1 3 0 0 0 0

w
1 1 1 3 0 3 1 1 0 1 3 1 0

w

w
0 3 1 3 0 0 3 1 0 1

w
1 0 1 3 3 0 3 1 3 0 1 3 0
2
14
Ex. 1
Ex. 2
B C and D
3 0 3
[
t
A
3 0 1 3
1 1 1 3 0 3 1 1 0 1 3 1
1
1 A
3 1 3
Co
0 3 1 0 1
7 7 7
1 0 1 3
A
3 0 3 1 3 0 1 3
( 3 1
1
74
9
13
4
4 &
Ex. 3
&
&
Ex. 4
&

w
0 1 0 3 3 1 0 1 0

w
3 3 1 3 0 1 1 3 0

w
0 1 1 3 0 0 1 3 3 1 0

3 1 1 3 3 0 0 3 1 1 1 3 0
5
Ex. 3
7
7
1 o
[
)
t
T
0
A
B r
3 3
r
7
7
1
C3
0
7
3 3 1
T
A
B
r
r
3 0
7
1' 7
1 1 3
(3
0
Ex. 4
9
1
1
T
A
B
7
7 7 7
0 1 1 3
7 7
1 3 3 1
(3
0
13
3 1 1 3 T
A
B
7 7
3 0 0 3 1 1 1 3
r
0
75
Andante
4
7
10
13
15
3
4 &
&
&
&
&
&

3 1 3 0 3

1 1 1 1 3

0 3 3 3
3 1 0 3

1 1 1 3 1 3
0
Andante
o
3
r R
T
A
B
r
1 3
r
0 3
r
4
r
A
B
7 7 7
1
7 r
1 3
o
[
B
r
7 7 7
3 3 3
r
7
3 1
/0
r
i
-
A
B
r
7
0 3
r
13
7 7 7
1 I I
[ T
A
B
7
7
7
3 1 3
15
r
o
[ T
A
B
r
76
Guitar 1
Guitar 2
Gtr. 1
Gtr. 2
7
Gtr. 1
Gtr. 2
12
&
Ode to Joy
(1770-1827)
(from Symphony No. 9s)
&
&
&
&
&

J

0 0 1 3 3 1 0
3 1 1 3
0 0
3 3
0 0 1 3 3 1 0
3

j

1 1 3
0 0
3 1
0
2 2
0
1 1
0 0
1 1 3
0 0
3 1
0

J

1 1 3
0
3 1 1 3 3
0
1 3
0 1 0
1 3
0 1 0
3

#
2 2
0
1
0
2 2
3
0
3
0 0 1

J

1 3
0
0 0 1 3 3 1 0
3 1 1 3
0
3 1 1
#
n

j

2
4
0
1 1 3
0 0
3 1
0
2 2
0
1
0
2 2
Guitar 1
Guitar 2
Gtr.
Gtr. 2
12
ve
Gtr.
Gtr. 2
7
Ode to Joy
(from Symphony No. 9s)
(1770-1827)
0 0 3
A
1 1 3
0
A
0
3
AP
0
3 1
0
1 1 3
0
0
0
2 2
0
3 3
a 0
1
0 0
0 0 1 3
1 1 3
0
3 1 0
3
AP
0
3 1
0
a , : ?
1 1 3
A
0
A
2 2
3 1 1
0
2 2
:
3 3 1
0
3
3
0
3
0 1 0
3 3
1
1 3
0
A
A 2
4 0
0 0 1 3
1 1 3
0
3 1 0
3
0
3 1
0
1 1 3
0
0
0
2 2
3 I I
0
2 2
77
G & A
2
6
12
18
20
23
3
4
3
4
4
4
4
4
&
&
Ex. 1
&
&
&
Ex. 2
&
&
w
w
0 2

0 0 0 2 2 2 2 0 2 0 0 0

0 0 0 2 2 2 2 0 2 0 0 0 0 2

2 2 2 0 0 0 0 2 2 0 2 0

0 0 0 2 2

2 0 0 2 0 0 0 0 0

w

2 2 2 0 0 2 0 2 0
2
6
12
18
20
23
Ex. 1
Ex. 2
G& A

R
T
A
B
o o o
r r
2 2 2
dir
2 0 2

o o o

ro o o 2 2 2
MI i f f
2 0 2 o o o o
e-,
2
o o o o 2 2 0 2 o
r
T
A
B
I
I
t J
o o o
J
J
2 2
r
2 0 0 2 o o o
J J
e
r
r
A
B
2 2 2 0 0 2
Co
o
eJ
2 0
1
1
78
4
7
Ex. 4
10
Ex. 5
13
Ex. 6
17
4
4
3
8
3
8
3
4
3
4
3
2
3
2
&
Ex. 3
Ex. 3
&
&
&
&
&

0 0 0 2 2 2 2 2

0 0 0 0 0 2 2
2 0 0 2 0 2 0
j

j

j

2 2 0 0 2

0 0 2 2 2 0

0 0 2 2 0 2
Greensleeves
5
9
13
17
21
25
29
3
4 &
A G
English Traditional
(16th Century)
&
A E
&
A G
&
A E A
&
C G
&
A E
&

G
&
A E A

J

j

2
1 3
0 1 0
3 0
0 2
0

#
j

#

1
2 2 1 2
0
1
2
2

J

j

0 1 0
3 0
0 2
0

J

#

1 0
2 1 1 2 2 2

#
J

j

3 3 2 0
3 0
0 2
0

#
j

#

1
2 2 1 2
0
1
2
#
J

j

3 3 2 0
3 0
0 2
0

J

#

1 0
2 1 1 2
21
1
A
2 2
B
Arn
N E
o
[ 3
0 1
A Am
B
0 0 0
nal Ellii ii
29
Am
xo 0
Greensleeves
English Traditional
(16th Century)
1 3
to
3 0 0
0 2
1 2
0
1 2
2
0
3 0
Am
X0 0
0
0 2
1 0
A
17
2
0 0
1
000
2 2 2
og
3 2 0
3 0 0
0 2
1
2 2 1 2
0
1
2
3
A
3 2 0
3 0 0
0 2
A l i t
1 0
2 1 1
r
-
2
1
1
80
4
8
12
16
20
4
4 &
#
Song of the Wind
Traditional Folk Song
&
#
&
#
&
#
&
#
&
#

w
0 2
0 1 3 3 3 3
0
1
3 0
3

w

0
1
3 0
3 3 1 1 1 1 0 0 0

0
2 2 2 0
0 3 3 3 1 1 1 1 0 0 0

w

0
2 2 2 0 0 2
0 1 3 3 3 3

w

w
0
1
3 0
3
0
1
3 0
3

w
3 1 1 1 1 0 0 0 0
2 2 2 0
81
4
8
12
16
20
24
3
4 &
#
French Folk Song
French Traditional
&
#
&
#
&
#
&
#
&
#
&
#
3 2 0
3 1 0
2 0 2 0

3 3 3 2 2 2 0 2 3
3

1 1 1 0 0 0
2 2 2 0

0 2
0
0 2
0
0 2
0 1
2
0 1
2
0 1
2
0 1 3

3 3 3 2 2 2 0 2 3
3

1 1 1 0 0 0
2 2 2 0
82
Shortnin' Bread
African American Plantation Song
3
5
7
4
4 &
Fetch
G
the dough in/the kitch en - sh ed, -
&
Ra ke - the coals - till/their hot
D7
and . red.
G
&
Put
G
on - the ov en - and put in/the bre ad -
&
Ma ma's - cookin some short
D7
nen' - bread.
G

0 0
0 0
3 3
0
0
0
3
0

0 0
0 0
3 3
0
0
2 0

0 0
0 0
3 3
0
0
0
3
0

3 3 0 0
3 3
0
0
2 0
83

5
9
13
17
21
4
4 &
French Traditional
(15th Century)
&
&
&
&
&

1 1 1 3 3 3
0 1 3
1 0 1 3
0

1 1 1 3 3 3
0 1 3
1 3 0 1

3 3 3 3
0
3 1 3
0
1 3 3 3 3
0
3 1 3 1

3 3 3 3
0
3 1 3
0
1 3 3 3 3
0
3 1 3 1

1 1
0
1 3 3
0
3
0 1 3 3
1 0 1 3
0 2
0

#

1 3 1 0 1 3
0
3 2 3
0 1 3
1 3 0 1
5
9
13
17
21
French Tradi ti onal
(15th Century)
7 7 I
1 I I
rt
T
A
B
7 7 r
3 3 3
7
7
7
0 1 3
1
7
0 1 3
0
7 7 F
1 1 1
r
r
A
B
7 7 r
3 3 3
dr
7
7
0 1 3
1
7 7 r
3 0 1
3 3 3 3
r
. .

0 0
7
3 1 3 1 3 3 3 3
.

0
r
3 1 3 1
3 3 3 3
t o
0 0
7
3 1 3 1
77 7
3 3 3 3

0
I
3 1 3 1
a
.
' I
1
l z
,
3 3 3
0
0 1 3 3
1
a
do,
0 1 3 0
0 2
a r p 1
. = 1 = 1 1
,
r
:

1 3 1 0 1
A
B
0
3 3 2 3
a
a
0 1 3
1
3 0 1
84
16
24
2
4
2
4
&
D E F
D, E, & F
&
Ex. 1
&
&
Ex. 2
&
w
w
w
0 2 3

2 3 0 2 2 2 3 3 2 0 0

0 3 2 0 2 2 3 3 2 3 0 0 2

0 2 3 0 2 3 2 2 3 0 2 3 0 0

0 2 3 0 2 3 2 2 3 0 2 3 0
8
16
24
Ex. 2
Ex. 1
D, E, & F
D E F
i I
0
2
I
r
A
B
a
3 0
0
2
0
2
a
a
2 3
- -
0
3 2 0 0
0 3 2 0 2 2 3 3 2 3 0 0 2
[ A
I
a a a a
a
a
a
a
a
3 0
a
2 3 2 2
a
3 0
a
2 3
o
0
I
I
85
14
20
4
4
2
4
2
4
&
Ex. 3
&
&
Ex. 4
&
&

0 3 0 2 2 2 3 3 2 0 0

w
0 3 0 2 2 2 3 3 2 0

0
0
0
2
0
3 2 0
0
0
0

2
0
3
0 2
0
0
0
2
0
3 2

0
0
0
0
2
3
0 0
a
[
)
t
T
A
B o
3 0 2 2
a a
2 3 3 2
Ex. 3
5
T
A
B o l
o 3 J 0 2 2
J
a a
2 3 3 2
ILI
0
li
1
Ex. 4
1
1
T
A
B
i
0
0
0
2
0
a
3 2 0
0
0
0
14
T
A
B
2
0
a
0
3
2
0
0
0
2
0
a
3 2
20
T
A
B
1
o
0
0
0
2
3
J
,,.... . . . - ,
0 0
1
1
86
!
"
Amazing Grace
John Newton
(1725-1807)
!
"
#
$
%
&
G
%
%
&
%
#
0
0
0
0
0
2
3
!
"
#
$
C
&
%
&
G
%
&
%
%
#
0
2 0 0
0
0
0
6
!
"
#
$
&
%
&
$
D7
&
%
#
0
2
3 3 0
9
!
"
#
$
%
$
G
%
'
%
%
&
%
C
%
$
%
(
%
%
#
3 0 3 0
0
0 2
0 0
2
12
!
"
#
$
&
G
%
&
%
%
&
D7
%
#
0
G
0
0
G
0
0
0
2
15
$
$
$
$
!
"
#
$
&
C
%
&
$
&
#
0
2
0 0
87
This
G
train is bound for glo ry - this train! This
E
- train is bound
C
for glo ry -
this
1
3
2
D
train! This
G
- - train is bound for glo ry - I'm
C7
not tell ing -
7
you a sto ry, - This

G
train is bound
D7
for glo ry, - This
G
train! - -
12
-
17
4
4 &
#
arranged by Larry Ferrara African American Traditional
This Train
&
#
&
#
&
#
Strumming pattern

0 0
0
2 0
2 0
0 0
3 3 3
0
3 0 3

b

3
2
3 3 3
0
3 0
0 3 2 0 2
b

n

3 2 0
2
0 0
0
2 0
2 0
0 0
V
V V
0 0

r
o
;
0
0 0 0

6 4s
,
.
r, r,
0
0 0
.
,
This train i s bound for glo - ry t h i s
- - - - - _ - - - - - '
train! T h i s train i s bound for glo - ry
o o
you a
doJ
sto - ry, T h i s train
is
this train! - - T h i s train i s bound for
glo - ry I
m not
tell - ing
A
o
I 3
3 3 3 3 0
A
2
r
o
;
0
0
6 4s
,
.
r, r,
, --
o o
you a
doJ
is
this train! - - T h i s train i s bound for
glo - ry I
m not
tell - ing
o
I 3
3 3 3 3 0
A
2 0 3 2 0 2
B
6 4s
,
.
o
o o
you a
doJ
is bound for
do
J
glo - ry, T h i s
train! - -
A
12
17
000
000
Strumming pattern
This Train
D
7
XXO
= Pr M:
A I = W M W
-
F M W M W
M W M W M
I
r , . .
-
m i n
r m
m m
i n i
r m i
n t r
i
o w r m
N
1
W
W
W
W
W
W
W
W
W
W
W
W
W
I
M
I
E n i E l S i Mi a t a Mn i MI MME MI N MI
Em
0000
000
C
7
X 0
X 0 0
I
1 0 0 0
88
Guitar 1
Guitar 1
Guitar 2
Guitar 2
All day, all night Mar i - anne - down by the sea shore -
Gtr. 1
Gtr. 1
Gtr. 2
Gtr. 2
7
sift ting - sand All - - - of the peo ple - love Mar i - ann - -
Gtr. 1
Gtr. 1
Gtr. 2
Gtr. 2
12
e do - wn - by the sea shore - sifting sa nd.
4
4
4
4
&
C G7
Caribbean Air (Marianne), Duet
Calypso Traditional
&
&
C G7
&
&
C
&

w

0 3
1
0 0
3
1 1
3
1 1
0 3

1
0
2 0 0
3
2 0
3
0
3 2
0
2 2 0
3

w

3 1
0 0 0 0 3 3
1 1
0 0 0
3
1 0

3 2
0
3
1
0
3 2
0
1
2 0 0
3
2 0

w
3 1 0
2
3 3
1 1
0 0 3 3 3 1
0
3 1

w
3 2 0
3
0
0
0 3 3 2
0
3 2
89
13
4
4
4
4
&
A B C
A, B, & C
Notes on the 5sth String
&
Ex. 1
&
&
Ex. 2
&
w
w
w
0 2 3

3 0 3 2 2 2 2 3 0 0

3 0 3 2 2 2 0 2 3 0 0

3 0 3 0 3 3 2 0 0

w
2 2 3 2 2 3 2 0
90
3
6
9
12
15
3
4 &
Ex. 3
&
&
&
&
&
0 2 3 2 0 3 2 0

2 2 2 0 2 3 2 0

2 3 2 0 0 0 3

2 2 2 3 0 0
0 3 2 2 2 3 2

0
91
Guitar
Guitar
C7
Gtr.
Gtr.
F7
4
Gtr.
Gtr.
C7 G6
7
Gtr.
Gtr.
F6 C6
10
Gtr.
Gtr.
G C7
12
4
4 &
Walkin Blues
&
&
&
&

b

3 3
2 2
0 0 2 2 3 3 2 2 0 0
2 2
3 3
2 2
0 0 2 2
b

b

3 3 2 2 0 0
2 2 3 3
2 2
1 1 3 3 4 4 3 3 1 1
2 2

n

b

n

3 3
2 2
0 0 2 2 3 3 2 2 0 0
2 2
0 0
0 0 3 3
0 0

3 3
2 2
1 1 3 3
3 3
2 2
0 0 2 2

w
w
w
w
w
b
1
3 3 3 3
3
2
3
1
0
92
A C
1
3
2
D F
A C E
5
A C
1
3
2
D F
9
A E A
13
E A
1. 2.
16
3
4 &
House of the Rising Sun
&
&
&
&

2
0 2 3
2 0
0 0
2

#
2 2 0
0 2 2
1

2 2 0
2 0
3 0 0

#

0 0
4 4
0 0

0
0 0
93
12
16
4
4
4
4
&
E F G
E, F, & G
&
Ex. 1
&
&
Ex. 2
&
w
w
w
0 1 3

w
0 1 1 0 3 1 1 0 0
w

w

w
0 1 1 3 1 0 0 1 3 1 0 0

0 0 0 3 3 1 3 1 0 0

w
3 3 1 3 3 0 1 3 1 0
94
9
14
20
4
4
2
4
2
4
&
Ex. 3
&
&
Ex. 4
&
&

0 1 1 0 1 0 0 3 1 1 0

w
3 3 3 1 0 1 1 0 1 0

0 3 1 0 1 1 3

3 1 0 0 0 3 1 0 1

1 1 3 1 0
95
Leyenda
4
7
10
13
16
6
4 &
&
&
&
&
&

0
2 3 0 2
3 0
2 3 0 2
3 0
2 3 0 2
3

0
2 3
0
2 3 0
2 3 0 2
3 0
2 3 0 2
3

0
2 3 0 2
3
0
2 3 0
3 1 0
2 3 0 2
2

0
2 3 0 2
2
0
2
0 2 3
0
2 3 0 2
3 2

0
2 3 0 2
2
0
2 3 0 2
2
0
2
0 2 3
0

w
2 3 0 2
3
0
2 0 0
96
Leyenda
Isaac Albeniz
(1860-1909)
4
7
10
13
16
6
4 &
&
&
&
&
&

0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0

0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0
0
0
2
0
3
0
0
0
3
0
1
0
0
0
2
0
3
0
0
0
2
0
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0
0
2
0
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0
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0
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0
0
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97
Leyenda
Isaac Albeniz
(1860-1909)
5
9
13
17
20
23
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4 &
m
p
m
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&
3
3
3
3
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3
3
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3
3
3
3
3
3
3
&
3
3
3
3
3
3
3
3
3
3
3
3
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0
0
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0
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10
18
23
33
39
3
4 &
#
Vals
Bartolome Calatyud
&
#
&
#
&
#
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#
&
#
Arm. 12 - - - - - -
0
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99
E Am E
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8
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3
4 &
Malaguena
Spanish Traditional
&
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#

#

#
0 1 3 1 0
0
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#

#

0 1 3 1 0
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#

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#

#

0
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#

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2
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#

#

#

0 1 3 1 0
0 3 1 0 1
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0
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0
0
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0
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100
MAJOR SCALE - 5 POSITIONS

1
1
1
1
1
2
2
2
2
3
3 4
4
4
4
4
4

1
1
1
1
2
1
1
2
3
3
3
3
4
4
4
4
4

1
1
1
1
1
1 2
2
2
3
3
3
4
4
4
4
4

1
1
1
2
2
2
1
1
3
3
3
4
4
4
4
4

= root

1
1
1
2
1
1
1
2
3
4
3
3
3
4
4
4
4
Position
E
Position
D
Position
C
Position
A
Position
G
101
MINOR SCALE - 5 POSITIONS

1
1
1
1
2
1
1
2
3
3
3
3
4
4
4
4
4

1
1
1
1
1
2
2
2
2
3
3
4
4
4
4
4
4

1
1
1
1
2
2
1
1
4
3
4
4
3
3
4
4
4

1
1
1
1
1
1 2
2
2
3
3
3
4
4
4
4
4

= root

1
1
1
2
2
2
1
1
3
3
4
4
4
4
3 4
Position
Em
Position
Dm
Position
Cm
Position
Am
Position
Gm
102
MAJOR PENTATONIC SCALE - 5 POSITIONS

1
1
2
2
2
3
4
4
4
4
4

1
1
1
1
1
1
3
3
3
3
4
4

1
1
1
1
1
2
3
3
4
4
4
4

1
1
2
2
2
2 4
4
4
4
4
4

= root

1
1
1
1
1
1
3
3
3
4
4
4
Position
E
Position
D
Position
C
Position
A
Position
G
103
MINOR PENTATONIC SCALE - 5 POSITIONS

1
1
1
1
1
1
3
3
3
4
4
4

1
1
1
2
2
2
2
3
4
4
4
4
4

1
2
2
2
1
1
4
4
4
4
3
4

1
1
1
1
1
2
3
3
4
4
4
4

= root

1
1
2
1
2
2
4
3
3
4
4
4
Position
Em
Position
Dm
Position
Cm
Position
Am
Position
Gm
104
THE BLUES SCALE - 5 POSITIONS

1
1
1
1
1
1
2
3
3
3
4
4
4
4

1
1
1
1
2
2
2
2
3
4
4
4
4
4

1
1
1
1
2
2
2
2
2
3
3 4
4
4
4
4

1
1
1
1
1
2
1
3
3
3
4
4
4
4

= root

1
1
1
2
2
2
2
3
4
4
4
4
4
4
Position
E
Position
D
Position
C
Position
A
Position
G
105
!
!
1.
Left Hand Accuracy
!
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106
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107
!
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Left Hand Accuracy 3
!
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3
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108
!
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Sequential Excercise
!
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1
3
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9
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5
7
8 6
7
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etc.
109
#1.
Right Hand Studies

#2.

#3.

#4.

#5.

#6.

p
a
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110
#1.
Right Hand Studies

#2.
#3.
#4.
#5.
#6.

c
c
c
c
c
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111
!
"
Tremolo Study
!
"
#
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# 0
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13
!
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#
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#
2
0
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2
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1
2
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2
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1
2
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3
1
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2
3
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0
2
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1
0
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17
!
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#
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2
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3
2
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2
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2
2
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0
2
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0
112
6
11
15
23
27
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Ludwig van Beethoven
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125
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Spanish Traditional
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126
51 January 2008 ACCU8 1 ! C GU! 1AR
Study No. 19, sec. 2, ch.1
from Nuevo mtodo para guitarra, 1843
Music by Dionisio Aguado (1784-1849)
&
B
#
4
4

0
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p i m a p i m a
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from Nuevo metodo para guitarra, 1843
4
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Music by Dionisio Aguado (1784-1849)
. .
- M E N E M M a l
M E R E a f
A I E MI = a B M a d
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January 2008 A CO US T I C G UI T A R
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127
52 ACCU8 1 ! C GU! 1AR January 2008
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Variation 1
6

p i m a m i

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Var. 2
19

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Var. 4
21

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Var. 5

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the basics
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1
52 A C O U S T I C G UI T A R Januar y 2008
128
1/8/11 4:05 AM Arpeggio Article.webarchive
Page 1 of 5 file:///Users/lferrara/Documents/6a_files/Arpeggio%20Article.webarchive
The Art of the Classical Arpeggio (taken from Acoustic Guitar, Nov. 2007, by Larry Ferrara)
If youve only ever played guitar with a pick, and then suddenly begin playing with your fingers, you will find yourself
injecting a new variety of character and life into your music. Classical guitarists, who play exclusively with their fingers,
are well aware of the sonic possibilities. Even if youve never considered playing classical guitar, studying the
mechanics of these players will have a great impact on your playing.
This lesson will focus on the process of learning and implementing the arpeggioan important technique in any
musicians repertoirethrough the eyes of a classical guitarist. Just as harpists sound each individual note on their
instruments, arpeggios are played when notes of a given chord are performed one at a time instead of at the same
moment. Guitarists can use a wide variety of techniques to play them, with or without a pick, but classical players
perform arpeggios by plucking the strings one at a time with the picking-hand fingers.
Building the Position
For the classical guitarist, getting into the proper playing position is essential to achieving the proper technique. Start by
propping your fret-side foot (for example, a right-handed player should prop up his or her left foot) with a small
footstool. Position the guitar over your raised knee with the fretboard at an upward angle, and hold your picking hand
so that the fingers are positioned nearly perpendicular to the strings. Your body should make contact with the guitar at
four points: the inner left and right thighs, the chest, and the picking-hand forearm. Playing in this position will allow for
an extended stroke where the fingers, after plucking, contract toward the heel of the hand while gliding freely over the
next lower stringa technique classical players refer to as a free stroke.
To perform a free stroke, lightly rest your picking forearm (not your upper arm) on the midpoint of the guitars lower
bout. Make sure your elbow is aligned with the shoulder, and that your hand falls just below the soundhole. To be sure
your hand is relaxed, make a fist and then unclench it to a comfortable position. Arch your wrist slightly and curl your
fingers into a half-circle shape, gently touching one another. (Avoid over arching, as this can aggravate the tendons
and lead to painful problems down the road!) Now try plucking a string with your index finger. As it approaches the
string, aim your attack so that you make contact with the part of your finger where the flesh and nail meet. Your index
finger should approach at a slight angle, so that you pluck near the inside edge of the nail. The thumb, meanwhile,
should be held straight at the knuckle, extending slightly beyond the index. As it approaches and strikes the string,
move it straight down, toward the index.
Have a look at Example 1, a simple arpeggio that includes the proper fingering for classical guitar. Strike each string in
the manner described previously, letting each finger follow through toward the heel of the right hand (being sure to sail
over the next lower string entirely). As the next finger goes in for the attack, let the previous finger relax and return to
its starting position above the string, ready for its next note.
Ex. 1
ClassicalBasics_Ex1-4.pdf
Arpeggi o Arti cl e.webarchi ve 1 / 8 / 1 1 4:05 AM
Th e Ar t o f t he Cl a s s i c a l A r p e g g i o (taken from Acoustic Guitar, Nov. 2007, by Larry Ferrara)
If you've only ever played guitar with a pick, and then suddenly begin playing with your ngers, you will nd yourself
injecting a new variety of character and life into your music. Classical guitarists, who play exclusively with their ngers,
are well aware of the sonic possibilities. Even if you've never considered playing classical guitar, studying the
mechanics of these players will have a great impact on your playing.
This lesson will focus on the process of learning and implementing the arpeggioan important technique in any
musician's repertoirethrough the eyes of a classical guitarist. Just as harpists sound each individual note on their
instruments, arpeggios are played when notes of a given chord are performed one at a time instead of at the same
moment. Guitarists can use a wide variety of techniques to play them, with or without a pick, but classical players
perform arpeggios by plucking the strings one at a time with the picking-hand ngers.
Building the Position
For the classical guitarist, getting into the proper playing position is essential to achieving the proper technique. Start by
propping your fret-side foot (for example, a right-handed player should prop up his or her left foot) with a small
footstool. Position the guitar over your raised knee with the fretboard at an upward angle, and hold your picking hand
so that the ngers are positioned nearly perpendicular to the strings. Your body should make contact with the guitar at
four points: the inner left and right thighs, the chest, and the picking-hand forearm. Playing in this position will allow for
an extended stroke where the ngers, after plucking, contract toward the heel of the hand while gliding freely over the
next lower stringa technique classical players refer to as a "free stroke."
To perform a free stroke, lightly rest your picking forearm (not your upper arm) on the midpoint of the guitar's lower
bout. Make sure your elbow is aligned with the shoulder, and that your hand falls just below the soundhole. To be sure
your hand is relaxed, make a st and then unclench it to a comfortable position. Arch your wrist slightly and curl your
ngers into a half-circle shape, gently touching one another. (Avoid over arching, as this can aggravate the tendons
and lead to painful problems down the road!) Now try plucking a string with your index nger. As it approaches the
string, aim your attack so that you make contact with the part of your nger where the esh and nail meet. Your index
nger should approach at a slight angle, so that you pluck near the inside edge of the nail. The thumb, meanwhile,
should be held straight at the knuckle, extending slightly beyond the index. As it approaches and strikes the string,
move it straight down, toward the index.
Have a look at Example 1, a simple arpeggio that includes the proper ngering for classical guitar. Strike each string in
the manner described previously, letting each nger follow through toward the heel of the right hand (being sure to sail
over the next lower string entirely). As the next nger goes in for the attack, let the previous nger relax and return to
its starting position above the string, ready for its next note.
Ex. 1
Ex. 1
Classical Basics_Exl -4.pdf
a
l e:///Users/Iferrara/Documents/6a_l es/Arpeggi o%20Arti cl eatvebarchi ve P a g e 1 of 5 129
Practice By Planting
Even once the free stroke begins to feel familiar, pulling a series of them into an arpeggio can still be tricky. Many
classical guitarists develop their delivery through a practice technique frequently called planting or prepositioning. Think
of the way a baseball batter checks his or her swing while warming up on deck. Similarly, by planting the fingers of the
picking hand on their assigned strings (as designated by the p, i, m, and a symbols in each lesson examplesee page
12 for more details) before each note is sounded, guitarists develop their ability to consistently find the appropriate
string and use the correct articulation.
To play an ascending arpeggio, plant all of your fingers simultaneously [Example 2]. The picking-hand fingers lie on
the strings positioned to play a chord but instead play each individual string in sequence from low to high. This is what I
call a full plant, where all of the picking fingers are pre-positioned at the same time to pluck the arpeggio.
Ex. 2
For descending arpeggios, the fingers are pre-positioned one at a time in sequence [Example 3]. The fingers play the
strings they touch one by one and are always one string ahead of the string to be sounded. Because it keeps your
other fingers out of the way of ringing strings, this partial planting technique is useful when playing a series of notes
on adjacent, descending strings. When an arpeggio combines an ascending and descending cascade of notes, use a
combination of both approaches, as in Example 4.
Ex. 3
Practice By Planting
Even once the free stroke begins to feel familiar, pulling a series of them into an arpeggio can still be tricky. Many
classical guitarists develop their delivery through a practice technique frequently called planting or prepositioning. Think
of the way a baseball batter checks his or her swing while warming up on deck. Similarly, by planting the ngers of the
picking hand on their assigned strings (as designated by the p, m , and a symbols in each lesson examplesee page
12 for more details) before each note is sounded, guitarists develop their ability to consistently nd the appropriate
string and use the correct articulation.
To play an ascending arpeggio, plant all of your ngers simultaneously [Example 2]. The picking-hand ngers lie on
the strings positioned to play a chord but instead play each individual string in sequence from low to high. This is what I
call a "full plant," where all of the picking ngers are pre-positioned at the same time to pluck the arpeggio.
Ex. 2
2 2
Plant: p-i -rn-a p - i - m - a
Ex. 2
For descending arpeggios, the ngers are pre-positioned one at a time in sequence [Example 3]. The ngers play the
strings they touch one by one and are always one string ahead of the string to be sounded. Because it keeps your
other ngers out of the way of ringing strings, this "partial planting" technique is useful when playing a series of notes
on adjacent, descending strings. When an arpeggio combines an ascending and descending cascade of notes, use a
combination of both approaches, as in Example 4.
Ex. 3
p
0-
a
a
a
a
0
0
2
Ex. 4
Planting is not just an excellent technique to help guitarists orient their picking hand: over time it also develops accurate
feeling, articulation, and tone, and a sense for the amount of resistance each string gives. When performing, this
technique can be used under certain circumstances to provide articulation, but more often, it is set aside so that notes
connect, ring out, and vibrate clearly.
On page 51 is an arpeggio study by 19th-century Spanish composer Dionisio Aguado. First practice it as Aguado wrote
it, with a straight, ascending sequence. Then, in order to gain comfort with string crossings, try applying the picking-
hand fingering variations that I have suggested at the end of the study. Practicing each will eventually give you a nice
arsenal of picking-hand sequences that you can choose from with relative comfort, whether improvising, composing, or
providing accompaniment. There will be circumstances, dictated by the meter of a work or the character of a piece of
music, when one arpeggio fingering works significantly better than another. As you practice, work toward being able to
switch the patterns around with ease while keeping a steady beat.
Arpeggi o Arti cl emel oarchi ve 1 / 8 / 1 1 4:05 AM
Ex. 4
Plant: p- i- t me
Ex. 4
Planting is not just an excellent technique to help guitarists orient their picking hand: over time it also develops accurate
feeling, articulation, and tone, and a sense for the amount of resistance each string gives. When performing, this
technique can be used under certain circumstances to provide articulation, but more often, it is set aside so that notes
connect, ring out, and vibrate clearly.
On page 51 is an arpeggio study by 19th-century Spanish composer Dionisio Aguado. First practice it as Aguado wrote
it, with a straight, ascending sequence. Then, in order to gain comfort with string crossings, try applying the picking-
hand ngering variations that I have suggested at the end of the study. Practicing each will eventually give you a nice
arsenal of picking-hand sequences that you can choose from with relative comfort, whether improvising, composing, or
providing accompaniment. There will be circumstances, dictated by the meter of a work or the character of a piece of
music, when one arpeggio ngering works signicantly better than another. As you practice, work toward being able to
switch the patterns around with ease while keeping a steady beat.
from Nuevo metodo para guitarra, 1843
Music by Dionisio Aguado (1784-1E149)
0
0
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101 _ _. - - MINm i t E l l 1 1 1 1 1 a l l . . 1 . 1
I M I W MMI NI f t mi mi s mr m m m r . 1 . 1 0 f f t . m m o r M = M r m r / = = r B M W = M O W M i l = i n ' -
mr . m r m r m = 1 1 0 M M = = 1 1 . 1 = 1 1 1 =
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2
3
ol d. s i l l . E l l . - soi l l ; MOE
a . omm- di mmmb- dmI l mmi m m L _ = m h _ m b . . m o m m - d i I mmo Er m i
. . m i m m
= P. M I M P . = P . M P = 1 = , ! E P . 1 = 1
,
P = P
.
=
A d 1 = Mr A . . . 1 1 = M !
2 2 2 2 1 2 - 2 2 2 1 0
-
0
-
0
-
0 1
_ 0 1 0 - 0 - - 0 0 I 0 - 0 - 0 - 0 _ _ _ _ _
2007 Larry Ferrara. All rights reserved. Used by permission.181_Basics_SONG1.pdf
Study No. 19
Variations
181_Basics_SONG2.pdf
.1l k E l l 0
,
.
M I N P 9 I
M P
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M a i m m i n m i i m
m i n m m i
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ye
21
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0 - 0 0
0 0 - - 2 1 - 2 - 4
2
0
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0
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0
1 1 0 0
0
2
2
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-
a m i l l i N M 11 E M M A - O S E r I l l O M 2 4
mmoma i ur Bi l M M ! MI Nf o l - T a L mEMI MI ml t - E r . M = M ! . M I M I M I M M e l l a l l md M M t l Er J EHMI MF M E M ' , r U l l
.1 o m i . m r - 1 1 - m A r - m r
-
m i r - - k
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3
Variation 16 6 6 6
_ _
non m o l l Emma
a 1 . 1 1
M K - . ' M M M E . M r = 1 1 1 1 = M E ' . . M = M I E J = t , = = = r M T mi l i mmr J I
. . - E I P , m m e x
,
-
,
q m o w l - m -
m o m r
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m i
-
-
m
,
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-
n o
n
I t . l - d M . . . - . 0
. .
1 1 M a r I W S
. 1 1 E M L A I M
I
s P i e . . 1 . A M I 1 . . 1
,
= d = I
m
0
_ -
- _
111 M E N E M . E l i . . 1 1 1 1 6 1 . 1 . 1 1 1 1 1 1 1
, = = 1 1 . M M = = f = M a r
. . = = = 1
P
.
=
=
=
l
1
P
.
M
=
E
M
I
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M
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1 - d m o m i i , i - d m o m r , - - 1 - d i l m . - a - a - d m - - , - a
-
t - A m m o - - = - - - - -
pa i m
0
3
3
2
181_13asics_SONG2.pdf
2
2
0 - 0 - 0 - 0
2
Var. 3
p a m i m a
0 0 0
0
-
0
-
0
0
0

3
3
2
0 - 0 0 - - 0
2 2
2
0
-
0
-
-
-
1
:
1
-
0
0
0
2
p i mi a i mi
0
0 0 0 - 0 - 0
0 0 0 - 0 - 0 - 0 - 0 - 0 - 0 - 0 - 0 - 0 - 0 - 0 - 0 - -
2
2007 Larry Ferrara. All rights reserved. Used by permission.181_13asics_SONG1.pdf
Study No. 19
Variations
MIND THE METRONOME
While the metronome is a very useful device no matter what your playing style, it is a crucial tool for the classical
guitarist. Use of a metronome can facilitate the development of speed and control the practice of technical exercises (in
this case, the arpeggio). This is done by beginning at a slow tempo and gradually increasing the pace until the desired
tempo is reached. To start, try playing the ascending, eighth-note arpeggios from Example 2 so that the clicks fall
comfortably on every other note of the figure. For the sixteenth-note arpeggios that make up the study above, practice
at a speed in which you can play comfortably and the clicks fall on the low note of each sequence.
MIND THE METRONOME
While the metronome is a very useful device no matter what your playing style, it is a crucial tool for the classical
guitarist. Use of a metronome can facilitate the development of speed and control the practice of technical exercises (in
this case, the arpeggio). This is done by beginning at a slow tempo and gradually increasing the pace until the desired
tempo is reached. To start, try playing the ascending, eighth-note arpeggios from Example 2 so that the clicks fall
comfortably on every other note of the gure. For the sixteenth-note arpeggios that make up the study above, practice
at a speed in which you can play comfortably and the clicks fall on the low note of each sequence.
CHECK LIST FOR THE RIGHT AND LEFT HAND
RIGHT HAND
1. Forearm, not upper arm, rests lightly on the guitar at its mid point on the lower bout. Elbow should be
aligned with the shoulder and the hand should fall just behind the sound hole.
2. Wrist is gently arched and slightly curved downward. Hand is shaped as though it is holding a tennis
ball with thumb extended outside of it or to establish a basic position; make a fist and then relax it.
3. Fingers are smoothly curved from the knuckle joint and held close together gently touching.
4. Contact with string is where the flesh and nail meet and is very slightly to left of the fingertip more so
with index finger than with ring finger.
5. Nails engage strings simultaneously with flesh but the flesh makes the contact with the string.
6. When playing a free stroke the fingers strike strings at a slightly oblique angle and move toward the
palm of the hand, gliding freely over the lower string.
7. After the stroke the finger comes out away from the palm and returns to its initial starting point usually
above the string but sometimes on it. This depends if planting (or pre-positioning of the finger onto the
string) is utilized.
8. When playing a rest stroke a push down and in rather than pluck or scratch is the basis for the stroke.
9. After the finger pushes the string down and in and briefly rests on the lower string the finger then
bounces back and returns to its former position aligned with its other fingers.
10. Upon impact with string, tip joint of finger collapses only slightly to avoid tension and rigidity.
11. Fingertips positioned close to strings without touching them (unless preparation is employed).
12. For general timbre and playing position, the hand is held at the edge of the sound hole where the rosette
turns.
13. Hand is relaxed, held steady and not allowed to bounce.
14. Thumb is slightly extended beyond index finger.
15. Tip of thumb is straight at the knuckle joint for presentation to string during free stroke.
16. Tip of thumb is turned back at the knuckle joint for presentation to string during rest stroke.
17. Thumbnail contacts string at the center when playing free strokes.
18. Thumb nail contacts string at the left corner when playing rest strokes
19. Thumb approaches and strikes the string at a 90-degree angle and performs a circular motion after
stroke.
20. When fingers move back toward the palm during normal playing, the thumb extends upward.
21. When the thumb moves down during normal playing the fingers kick out.
LEFT HAND
1. Elbow, forearm, wrist and hand are aligned during normal grip
2. Wrist is as straight as comfortably possible and aligned with the forearm relaxed and not rigid.
3. Upper arm is sufficiently away from or close toward torso to allow for flexibility as needed.
4. Palm is generally held parallel to bottom edge of fret board.
5. A small space is maintained between palm and bottom edge of fretboard.
6. Except for close fingering within a single fret; lateral separation of the fingers at knuckle is desired.
7. Fingers fret on tips (not flats) and face the string.
8. Fingers are held close to strings pointing towards them.
9. When not in use, fingers are relaxed yet stable and in position close to strings pointing toward them
and separated at the knuckle, fanned across four frets.
10. Hand is held steady and not allowed to rock back and forth.
11. Fingers are arched and not allowed to collapse at either joint when pressure is applied.
12. Minimal pressure is desirable and prevents fatigue and sluggish movement.
13. Minimal lift restrains excess movement.
14. Thumb generally opposes first or second finger. (First finger when barring).
15. Thumb should not rise above the upper edge of the neck.
16. Tip of thumb should be turned back and locked except when playing sixth string.
17. Thumb always moves when the hand does and keeps its alignment when shifting.
18. No outward rotation of palm at shifts.
19. Arm accommodates hand movements and leads the fingers when shifting.
134
CHECK LIST FOR MUSICAL INTERPRETATION AND IMAGINATION
INTERPRETATION
1. Know where all phrases start and stop. Aim for long phrases but be aware of the sub-phrases within the
longer line.
2. Find antecedent and consequent phrases and play them like a question and answer statement.
3. Articulate the relationship of phrases and create distinction between them.
4. Find the high point of a phrase and move musically toward it and diminish away from it. The high point
isnt always in the middle it may be at the beginning, middle or end of the phrase.
5. Look for motives and how they repeat, sequence or transform. How does the music life of a motive
affect the way the music should be performed?
6. Strive for legato playing when musically appropriate.
7. Sing the lines or sing along with playing to emphasize the musical flow or naturalness of the lines.
8. Use vibrato on notes that are sustained and use vibrato corresponding to the intention of the line or the
tempo of the piece.
9. Articulate the meter if the piece is reliant on rhythm, which many pieces are.
10. Phrase across the bar line if the music needs to move forward and phrase into the beats to create a more
static rhythm.
11. Use accents for clarity and drama if musically appropriate.
12. Apply tempo rubato if stylistically appropriate.
13. Find the correct tempo of a piece. A musical tempo is one that is just right or speaks well for the way
the music is to be played.
14. Use a metronome to help find and capture a tempo.
15. Be aware of the MM of a given piece but play it at a tempo according to personal taste and wishes.
16. Observe all expression markings and add more if appropriate. Try to determine what the composer
wanted and then realize that.
17. Make a noticeable difference between forte and piano
18. Avoid rushing during crescendo or slowing when decrescendo.
19. Follow the contour of the musical line by rising intensity as the notes ascend and diminish intensity as
notes descend.
20. Bring out harmonic tension in the progressions of chords or implied harmonies.
21. Emphasize dissonances and allow them to answer softly in resolutions.
22. Mark cadences and bring out the open, closed or deceptive qualities of each.
23. Make your tone musical by using free or rest stroke where appropriate.
24. Apply light and shade or brightness (ponticello), and softness (tasto) in repeated or echoed passages,
complete phrases or sections of pieces.
25. Find the melody in a piece and balance the subsidiary parts so that the melody stands out.
26. Balance the texture so important voices stand out in dialogue or in answering statements, i.e. treble and
bass discourse.
27. Determine the form of the piece you are working with and bring the form out by playing sections as new
material, varied material, developed or repeated material. If the material is returning play it as if it has
already been accustomed to or acquainted with and is now recurring.
IMAGINATION
1. Feel the music to conjure up a wide range of ideas, thoughts, and expressions.
2. What is the character or spirit of the music?
3. Demonstrate the understanding of the style or the historic perspective the piece is written with.
4. Make the music tell a story, with characters, expectations, conflicts, resolutions and feelings.
5. Know the meaning of the title, expression markings or description given to the work you have.
6. Breathe life into the music and coordinate it with the rhythm and phrasing. This helps bring awareness
to the entire body. Exhale into downbeats and inhale on upbeats. Exhaling makes the body relax.
7. Listen critically to your sound when moving from key to key or register to register. Feel the change of
quality.
8. Persuade the listener to believe this is an artistic piece.
9. Stay with the thought that you want to play well because you have something to give.
10. Play with your heart by giving life and a sense of longing to the music.
135
Beginner Chords

E A E A C# E
2 3 4
A
2
1
3
A7
E A E G# C# E E A E G C# E
2 3
A7
E A E G D E
2
4
A74
E A E A C E
2 3
1
A
2
1
A7
E A E G C E E A E B C# G
1
3
1
2
A9

F# B D# F#
2 3 4
1
B
3
2
4
1
B7
F# A# D# F# B D# A B F#
2
1
3 4
B7
2 1 3 4
B74
B E A B F#
3 4
2
1
B
F# B D F#
3
1
2
1
B7
A F# A D F#
2
1
3 4
B9
B D# A C#

E C E G C E
3
2
1
C
E C E G B E
3
2
C7
E C E Bb C E
3
2
4
1
C7
2 3 4
1
C74
C G Bb C
3 4
2
1
C
G C Eb G
3
1
2
1
C7
G Bb Eb G E C E Bb D G
2
1
3 3
C9
A D A D F#
1
3
2
D
A D A C# F#
1 1
D7
A D A C F#
2
1
3
D7
2
1
3
D74
A D A C G
2
3
1
D
A D A D F
2
1 1
D7
A D A C F E A F# A C E
4
2
1
D9
E B E G# B E
2 3
1
E
B D# G# B
3
1 2
E7
E B D G# B E
2
1
E7
2 3 1
E74
E B D A B E E B E G B E
2 3
E
2
E7
E B D G D E E B D G# B F#
2
1
3
E9
G B D G B G
A F A C F
3
2
1 1
F
2
1
3
G
G B D G B F#
E A F A C E
3
2
1
F7
3
2 1
G7
G B D G B F
A Eb A C F
1
2
1
F7
3
2
1
G7
1
3
1
F74
3
2
1 1
G74
G B D G C F
Eb Bb C F
3
1 1
F
3
1 1
G
G Bb D G
F Ab C F
1 1
F7
3
1 1
G7
Eb Ab C F
F Bb D G
1
2
1
4
F9
1
2
1
3
G9
A Eb A C G
F B D A
136
Advanced Chords

5
A E A C# E A
NUMBER IS FRET
SHARPS # AND FLATS b
The symbol # (sharp) means to raise the pitch one fret higher. The symbol b (flat) means to lower the pitch one fret back.
Example: to make the A# chord, move up to the 6th fret; to make a Ab chord, move back to the 4th fret.
1
3 4
2
1
A
1
3 4
2
A7
5
A G# C# E
5
A E G C# E A
1
3
2
1
A7
5
A E G D E A
1
3 4
1
A74
5
A E A C E A
1
3 4
1
A
1
3
1
A7
5
A E G C E A
5
A C# G B E
2
1
3
1
4
A9

F# B F# B D# F#
1
2 3 4
1
B
F# B F# A# D# F#
1
3
2
4
1
B7
F# B F# A D# F#
1
2 4
1
B7
1
3
4
1
B74
F# B F# A E F# F# B F# B D F#
1
3 4
2
1
B
1
3
2
1
B7
F# B F# A D F# F# D# A C# F#
2
1
3 3
B9

G C G C E G
1
2 3 4
1
C
G C G B E G
1
3
2
4
1
C7
G C G Bb E G
1
3 4
1
C7
1
3
4
1
C74
G C G Bb F G G C G C Eb G
1
3 4
2
1
C
1
3
2
1
C7
G C G Bb Eb G G E Bb D G
2
1
3 3
C9
D F# A D F#
4
3
1
2
1
D
D F# A C# F#
4
3
1 1
D7
A F# C D
2
4
1
D7
2 3 4
1
D74
A G C D
5
A D A D F A
1
3 4
2
1
D
1
3
2
1
D7
5
A D A C F A D F# C E A
2
1
3 3
D9
G# E G# B E G#
1
4
3
2
1
E
G# E G# B D# G#
1
4
3
1
E7
5
B G# D E E
3
2
4
1
E7
2 3 4
1
E74
5
B A D E E
7
B E B E G B
1
3 4
2
1
E
1
3
2
1
E7
7
B E B D G B
4
G# D F# B E G#
1
2 4
1
E9
F C F A C F
G D G B D G
1
3 4
2
1
F
1
3 4
2
1
G
G F# B D
E A E A C E
1
3 4
2
F7
1
3 4
2
G7
G D F B D G
F C Eb A C F
1
3
2
1
F7
1
3
2
1
G7
1
3 4
1
F74
1
3 4
1
G74
G D F C D G
F C Eb Bb C F F C F Ab C F
G D G Bb D G
1
3 4
1
F
1
3 4
1
G
1
3
1
F7
2 3 3
G7
F C Eb Ab C F
G D F Bb D G G D F B D G
F C Eb A C G
1
3
2
1
4
F9
1
3
2
1
4
G9
137
138
139
c w w w w w
_________________________________________
140
A LIST OF REFERENCES
Method books for guitar
Current
Duncan; A Modern Approach to Classical Guitar, Vol. 1-3, 1980
Noad; First Book for the Guitar, Vol. 1 and 2, Schirmer, 1978
Noad; Solo Guitar Playing, Vol. 1 and 2, Schrimer, 1976, (1994)
Parkening, The Christopher Parkening Guitar Method, Sherry-Brener, 1972
Sagreras; First Lessons for Guitar, (then Vol., 2-7) Ricordi, ca 1920
Shearer; Classic Guitar Technique, Vol. 1 and 2, Franco Colombo, 1959
Shearer; Learning the Classic Guitar (pt. 1 & 2), Mel Bay Publications, 1990
Historical
Aguado; New Guitar method, Tecla Editions, 1843
Carcassi; Classical Guitar Method, Carl Fisher, ca. 1850
Carulli; Complete Method, Ricordi publications, ca 1830
Giuliani; Metodo per Chitarra Op. 1,Berben, ca. 1810
Sor; Method for the Spanish Guitar, Da Capo Press, 1850
Repertoire books for guitar
Brightmore; Modern Times, Vol. 1-5
Ferrara; Student Repertoire Series for Guitar, Vol. 1-2
Gerrits; Music for Solo Guitar, Vol. 1-3
Kraft; Royal Conservatory of Music Guitar Series, Vol. 1-8
Nadal; Easy Classics for Guitar
Noad; The Renaissance, Baroque, Classical and Romantic Guitar
Ronsol; Classics Easy Guitar, Vol. 1-3
Verdery; Contemporary Guitar Series
Theory books for guitar
Brimhall and Snyder; Basic Theory Notebook
Duarte; Guitar Fingerboard Teacher
Duarte; Melody and Harmony for Guitarists
Duncan; Guitar at Sight
Shearer; Basic Elements of Music Theory for Guitar
Shearer; Guitar Note Speller
Tanenbaum; The Essential Studies
Flamenco Methods
Martin; The Art of Flamenco
Sheer; An Introduction to the Flamenco Guitar
Marraccini; You can teach yourself Flamenco Guitar
Jazz Methods
Baker; Complete Course in Jazz Guitar
Fisher; Complete Method for Jazz Guitar
Crooks; How to Improvise
141
Internet Resources
Free Music for Classical Guitar:
http://dirk.meineke.free.fr/
http://tinyurl.com/3y9a4j
http://www.hebeonline.com/index.htm
http://tinyurl.com/3brkhx OR http://www.gitarrenschule-biebertal.de/notenarchiv/index_en.htm
http://tinyurl.com/2n5ovp OR http://www.guitare33.com/tabledit/latinojazzbossaspanish.htm
http://guitar.ah.to/
http://www.partiture.org/menu.html
http://www.fernandosor.fr.st/ (complete works of Fernando Sor)
http://imslp.org/wiki/Main_Page
http://www.delcamp.net/en/index.html (2,146 Free Classical Guitar Scores)
http://www.dailyguitar.com/ (1000s of public domain works and news about classical guitar)
Beginning Level Instruction in How to Play Classical Guitar:
http://www.openguitar.com/instruction.html
http://emedia.leeward.hawaii.edu/frary/tech_tips_index.htm
http://www.geocities.com/hyz_sg/index.html
http://www.learnclassicalguitar.com/
20 Page article on The Virtuoso Teacher by Christopher Berg
http://www.christopherberg.com/virtuosoteacher.aspx
Guitar Ensemble Music, lessons, tips
http://www.derek-hasted.co.uk/
http://www.btinternet.com/~derek.hasted/guitar-class/
Arts and Music Search Engine:
http://www.dmoz.org/Arts/Music/
Guitar Tab and Transcriptions:
http://www.guitarnotes.com/links/music/guitar_tab_transcriptions1.shtml
http://www.911tabs.com/
http://www.guitarzone.com/tabsearch.php
http://www.mysongbook.com/
Free Early Music Recordings:
http://www.jsayles.com/familypages/earlymusic.htm
Teaching Beginning Music Theroy and Music Appreciation:
http://website.lineone.net/~webduck/index.htm
http://website.lineone.net/~webduck/classmusic.htm
http://www.playmusic.org/ (interactive music appreciation website)
Classical Guitar Newsgroups:
http://groups.google.com/groups?hl=en&group=rec.music.classical.guitar
http://www.learnaboutguitar.com/
Intermediate Classical Guitar Repertoire Favorites:
http://www.maui.net/~rtadaki/intcgrep.html
Guitar Holding and Support Devices:
http://www.gitarrenhaltung.de/
Fingerstyle Guitar Site:
http://www.acousticfingerstyle.com/
All About Musicians Injuries:
http://eeshop.unl.edu/music.html
Scholarly Articles on Classical Guitar
142
http://www.egtaguitarforum.org/index.html
Classical Guitar Midi Archives
http://www.classicalguitarmidi.com/
Classical Guitar Radio Online:
http://www.guitaralive.org/ (hosted and produced by Tony Morris)
http://www.cathedralguitar.com/Radio.html
http://cc.ysu.edu/~mscervon/guitar/
http://www.tvcultura.com.br/radiofm/ (hosted by Fabio Zanon)
Misc. Guitar Sites
Guitar Foundation of America: http://www.guitarfoundation.org
Guitar Solo: http://www.gspguitar.com
Guitar Salon International: http://www.guitarsalon.com/
Jazz Improvisation Site: http://hum.lss.wisc.edu/jazz/
Comprehensive Classical Guitar Links Page: http://www.hilaryfield.com/cglinks.htm#mags
Strings by Mail: http://www.stringsbymail.com/
Guitar Acoustics: http://newt.phys.unsw.edu.au/music/guitar/
Classical Guitar Dictionary: http://tinyurl.com/37zks2
Classical Guitar Composers List: http://musicated.com/CGCL/
American Lute Society: http://www.cs.dartmouth.edu/%7Elsa/
Frederic Noad Page: http://www.noad.com/
Classical Guitar Museum: http://www.granary-guitars.com/
Guide to Nylon String Guitars: http://www.acousticguitar.com/issues/ag83/coverstory.shtml
All About Guitar Strings: http://www.professorstring.com/
Classical Guitar History: http://classicalguitar.sagabg.net/index.php/eng/guitar_history
Photos of Very Old Guitars: http://www.spinnst.co.at/BZ/guitars/index.html
All About Guitar Bracing: http://tinyurl.com/2d6xm3
World Guitarist: http://www.worldguitarist.com/ (daily news coverage of the classical guitar)
Guitar News Around the World: http://www.classicalguitarforum.com/
More Music
Danish Royal Library
The Rischel & Birket-Smith Collection
https://rex.kb.dk/F/-?func=file&file_name=find-b&local_base=mus01_rbs&con_lng=eng
Swedish Library Boije Collection http://www.muslib.se/ebibliotek/boije/indexeng.htm
Free Guitar Sheet Music http://classicalguitar.homeip.net/Sheetmusic.htm
These are not original prints but some guy who has engraved his own edition. Nevertheless
there is some good stuff here.
Digital Guitar Database http://digitalguitararchive.com/index.php?name=archive
This is a great overall database that includes some of the above, but it also has quite links to
some other great sites.
Seville Guitar Chamber Music Archive http://www.guitarandluteissues.com/gimeng.htm
Tufvesson Scores http://www.lysator.liu.se/%7Etuben/scores/
This site contains a lot of newly engraved baroque chamber music
Online Music Scores http://plato.acadiau.ca/courses/musi/callon/2273/scores.htm
This site contains a wealth of links to online music, it's pretty dense, but there is some great stuff
here.
143
Acknowledgments
Thanks to the students of City College of San Francisco. Much of the enjoyment and
learning gained from working through these pieces and exercises belongs to them. A
huge thanks to Bob Davis who worked with me on the rst edition of the text. My friends
and colleagues Madeline Mueller, Lenny Carlson, Brian Fergus, Pamela Kamatani,
Peggy Gorham, Judy Hubbell, Sol Gropman, Dean Kamei, Bob Brumbaloe, Charlie
McCarthy, and David Newton. Ideas and support from my family, Kim, Joseph, and
Jeremy was also an essential part in the submission of the Study Guide.
Lawrence Ferrara
Distinguished as a teacher and performer, Lawrence Ferrara is the first guitarist to receive
a master's degree from the San Francisco Conservatory of Music. His teachers have
included Julian Bream, George Sakellariou and Michael Lorimer. In addition to being a
professor at City College of San Francisco where he teaches guitar, and music
appreciation full time, he also teaches at the San Francisco Conservatory of Music and
San Francisco State University where he teaches guitar, guitar ensemble and guitar
pedagogy.
As a performer Mr. Ferrara has played major recitals in San Francisco, Toronto,
Barcelona, Los Angeles and at the Carnegie Recital Hall in New York. He has served on
the Music Advisory Panel to the National Endowment of the Arts and is the author and
performer of a sequence of music books titled The Student Repertoire Series for Guitar
Vol. 1 and 2 , with accompanying CD's, published by Guitar Solo of San Francisco. He
has a solo CD of American Guitar Works on the VGo label. In addition, Mr. Ferrara won
the top humanities prize in the California Virtual Campus (CVC) competition for, Best
Online Teaching Website, based on his course in music appreciation.

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NOTES ON THE LINES NOTES IN THE SPACES

you a sto ry, - This

arranged by Larry Ferrara

Kerry Livgren (Kansas)

E minor arpeggio study

Sur le pont d'Avignon

you a sto ry, - This

arranged by Larry Ferrara

Sur le pont d'Avignon

5fr 5fr 5fr 5fr 5fr 5fr

5fr 5fr 5fr 5fr 5fr 5fr

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