Documente Academic
Documente Profesional
Documente Cultură
G U I T A R
New Cape
SELF STUDY
DEREK
GRIPPER
Maria Montessori was born in Italy in 1870. She was Italys first woman doctor and began working in education in the
early 1900s.
Montessori Guitar is based on Montessoris method, applied to the guitar for the first time. The method is simple: it is
the teachers task to remove obstacles, to present the material as simply as possible, and to allow space for the learners
own spontaneous discoveries. A lesson is called a presentation and it should be simple and clear and present one
thing at a time.
So, take it easy. Return to early presentations. Jump forward to later ones. See what happens. Be interested in what your
fingers can do.
Derek Gripper
presentation one
TREBLE STRING MELODIES
...an introduction to playing and reading simple melodies on the first three strings of the guitar.
Introducing the basic concepts of guitar tablature, the use of the left and right hands, and the names of
the treble strings.
Tablature
The e string is the top line because it makes the highest sound.
The position of the 0 shows which string should be played by the right hand thumb.
Read from left to right:
0
0
0
0
0
0
Open Strings
0
0
0
0
0
0
0
0
0
0
0
0
0
0
Frets
on the e string
on the b string
0 2 3
2 3 0
3 0 2
0 2 3
0 2 3
2 3 0
3 0 2
0 2 3
0 2 3
2 3 0
3 0 2
0 2 3
on the g string
0
2
0
2
2
end
0
2
0
3
Ode to Joy
Ludwig van Beethoven
0
3
0
1
0
3
0
3
0
1
Little Hans
0
2
2
2
Happy Birthday
0 0
0 0
0
1 1
0 0
1 1
2
0
1
0
0
0 2
1 1
0 0 0
0
0 2
London Bridge
0
3
0
0
0
3
0
0
2
2
Dinosaurs: Part 1
0
2
1
0
2
0
0
Dinosaurs: Part 2
0
2
1
0
2
0
2
presentation two
TREBLE STRING CHORDS
...an introduction to playing and reading harmonic accompaniments on the first three strings of the
guitar. Introducing the names of the right hand fingers, three string chord diagrams and the use of right
hand patterns with simple chord progressions. The musical examples are accompaniments to the songs
from the first part.
Each of the treble strings is played by one of the right hand fingers:
p
i
m
p
m
p
m
p
m
p
m m
i i
m m
i i
m m
i i
p p
m
p
m
p
i
p
i
p
g b e
1st Fret
2nd Fret
3rd Fret
The numbers for the left hand second finger can be placed anywhere on the chord diagram
1
1
1
A chord progression is a series of chords or broken chords played one after the other.
1
3
1 2
2
3
Play the following pattern once for each of the chord diagrams below.
1
1 2
1 2
1
3
i
1
1
3
Accompanying Twinkle
1 2
1 2
1 2
3
twinkle
1
1 2
star
little
twinkle
how I
1 2
wonder
what you
are
1
1 2
1 2
3
up a-
-bove the
world so
high
1
1 2
1 2
3
like a
diamond
in the
sky
1 2
1 2
1 2
1 2
1 2
1 2
1 2
1 2
m
i
1 2
1 2
1
1 2
Happy
birth-
day
to
you
3
Happy-
birth
day
to
you
happy
birth-
day
to
1 2
3
you
1 2
1 2
Happy
1
3
birth
day
to
you
3
peas pudding
3
hot
3
peas pudding
cold
3
peas pudding
3
in the pot
2
3
3
nine days
old
1 2
London Bridge is
1 2
falling down
1 2
i
falling down
1 2
London Bridge is
falling down
1 2
falling down
1
1 2
My fair
lady
Accompanying Dinosaurs
1
2
1
2
1
2
3
dinosaurs lived
long ago
new
very scary
1
2
too
1
2
3
some of them liked
plants to eat
floor
2
some would rather
eat another
2
di-no-
saur
presentation three
MELODIES WITH RHYTHMIC NOTATION
...introduces the most common divisions of a crotchet or eighth rhythm, including examples of melodic
pieces using these divisions. The notations use three string tablatures with rhythmic notation and the
pieces are folk tunes or childrens songs from around the world.
Ta
Ta
Ta
Crotchet Rhythms
Go Tell Aunt
Rhody
Go
Tell
Au
Go Tell Aunt Rhody
The rhythms are placed inside the beats.
tr
Ta
22 3 2
2
2
0 0 0
0 0
0 20 02 30 2
Ta te 2
2
22
2 23
30
0 2
2 0 0 2 2
3
23 2
02
0 20 0
22
0
2
Crotchet Rhythms
Go Tell Aunt
Go
Rhody
TellGo
Aun
Te
Aunt Rhody
Say the following rhythms keeping the beat with a regular Ta.
Go
Tell
Aunt
traditional
0 0Rhody
0
0
Go
Tell
Aunt
Go
Te
Go Tell
Aunt
2
2 0 Rhody
0
2
2 0
3 2
2
2 2 2 0 2
2
2
3
23
32
2
3
2
22
Go
Tell
Aunt
Go
Rho
Tell
0 0 traditional
0
0
Go
Te
2 0
2
2
0
2
2 0
3 2
2
Aunt
2 Rhody
2
2
3
2
2
32
2
3
0
3
3
2
3
0 0 0
2
0 0
2
0
2
2
2
2 3 32
2
2
0
2 0 3 20
2
0
32 23
02
02
2
2
traditional
0 0
0 00 20 0
2 2 2 0 2
2
3
2
0 0 0
0 0
2
2
0
0
22 3
22
0
2
2
2
32 23
02 0 2 0
020 3 3 2
2 0
3 2
2
20 20
32
2
2
3
2
0
0 3
2
20 3 0
2
2
0
0
02
02
02 0 2 0
2 3
2
2 3 2
32 23
2
2 3 3 2
0
0
0
02
2
32
02
3
3
0 Saying2Rhythms
0 2 0
Go Tell Au
The rhythms are written above the tablature to show when each notes is played:
2
Barlines
l Aunt Rhody
2 2 0
2
0
2 2
0
3
03
20
2 2
02
00
traditional
2
0
22
3
0
0
0
0
This final barline shows where the end of the piece is.
Final Barline
Repeat Sign
Repeat Signs
traditional
Go TellGo
Aunt
Tell Rho
Aun
2
2
2
2
32
0 0
2
3
0
3 2
Minuet in G
J.S.Bach
3
0
0
2
Little Hans
traditional
0
2
0
2
0
2
0
0
tr
Song
0 0 00
2
0 0
2
he Cuckoo
Ta(fa)te fi on the Bare Branch
Ta fa te fi
3
0
0
3
0
Once you are used to the sound you can call it Ta.tefi
1
1
3
0
0
Swiss Chi
3
0
2
1
0
1
Ta . te fi
Ta.tefi
3
0
3
0
0
3
The
Butterfly
2
0
tr
The following rhythm is similar to Tafatefi, but two of the middle sounds are silent
3
0
1
3
0
0
1
Ta(fa
te)fi
1
3
2
1
3
3
0
2
0
0
0 0 30
2
10 0 0 2
2
Ta fa te fi
Once you are used to the sound you can call it Ta..fi
0
3
2
1
3
0
2
0
0
0
Ta . . fi
The Dotted Rhythm
The Butterfly
traditional
0
2
0
2
Swedish Traditional
0
0
3
0
0
2
instead of playing with the right hand thumb, one can walk with the index and middle fingers.
i
i
m
to play the first line of Twinkle
0
2
Return to all the melodies in the first and second parts of this book and play them with i and m.
presentation four
MELODIES WITH BASS ACCOMPANIMENT
...playing treble string melodies with bass accompaniment. The musical examples are taken from the first
and second parts of this book.
Up until now the right hand thumb and the right hand fingers have been playing
separately. In order to accompany a melody with a bass part, one must be able to
play the fingers and the thumb of the right hand at the same time.
Use the thumb (p) to play the following bass notes.
while playing the i and m parts on treble strings, the thumb plays the bass strings indicated below the tablature.
i
E
i
A
i
A
i
D
While playing the melody with i and m, the bass strings are played by p.
0
2
A
2
A
0
2
0
A
end
2
A
0
2
2
A
0
E
0
3
0
E
0
3
0
E
start at the beginning again
Little Hans
0
2
0
0
2
A
0
2
2
2
A
London Bridge
0
3
0
0
0
3
2
A
0
0
E
2
A
Dinosaurs: Part 1
0
2
1
3
0
A
0
2
0
0
E
0
E
Dinosaurs: Part 2
0
2
1
3
0
A
1
A
0
2
0
2
The third fret on the E and the A strings gives us two more possibilities for bass accompaniments
When the third finger of the left hand is playing the bass G, the fourth finger must play the melody note.
3
3
G
G
left hand 3rd finger
Minuet in G
J.S.Bach
0
0
3
0
0
2
3
0
3
0
C
0
The Butterfly
traditional
G
0
C
0
presentation five
CHORDS AND PATTERNS
...introduces the playing and reading of chord diagrams and right hand patterns, providing an
introduction to playing classical guitar pieces with constant right hand patterns and changing chords.
Chord diagrams are usually used in songbooks above the song lyrics. They remain the
clearest means of showing the position of the fingers on the fretboard.
Chord diagrams are used here to introduce music where the guitarist must place more
than one left hand finger onto the fretboard at one time.
A right hand pattern is one way to create rhythm in guitar music. These patterns use
a combination of the four fingers of the right hand to pluck the strings of the guitar.
The patterns in this book are written using a combination of the traditional
Spanish guitars right hand letters and the tablature often used to write guitar music.
p
i
i
m
a
m
p
a
i
m
p
m
p
a
i
a
i
m
i
m
i
m
i
m
i
a
m
i
a
m
i
m
i
a
p
m
i
m
i
m
i
treble strings
bass strings
Chord Diagrams
1st fret
3rd fret
5th fret
e
1st finger
1st fret
e
1st finger
2nd fret
1
e
first finger
4th fret
e
first finger
3rd fret
2
2
g
2nd finger
2nd fret
D
2nd finger
4th fret
2
e
2nd finger
2nd fret
e
2nd finger
5th fret
Before playing the right hand pattern above, place the left hand fingers as follows:
p
Play the right hand pattern once for each of the following chords.
Repeat as a cycle.
Sometimes the position of the thumb will change from chord to chord.
We indicate this change by placing the p over the bass string on the chord diagram.
p
p
i
p
i
p
1
3
x2
x2
play this chord progression twice with one right hand pattern for each chord
Repeats
p
p
1
2
4
x2
1
x2
1
3
3
x2
x2
x2
p
p
1
2
1
2
p
p
1
2
1
4
m
p
p
p
1
2
1 2
23
Sometimes the position of the fingers i and m changes from one chord diagram to the next.
This is indicated on the chord diagram.
p
The Right Hand Pattern remains the same,
but the position of i and m changes.
i m
i m
p i m
3 4
p i m
i m
3 4
i m
p i m
1
3
p i m
3 4
p i m
p i m
12
p i m
3 4
i m
i m
p i m
1
1
2
3
p i m
p i m
2
3 4
p i m
p i m
1
3 4
i
p
1 2
i
p
2
3
m
p
12
a
i
i
p
1 2
i
p
m
p
2
3
a
i
12
a
i
m
p
i
p
I II III IV V
one
two
three
four
five
Roman Numerals
1st Fret
II
2nd fret
III
3rd Fret
Positions
First Position
1st Finger
1st Fret
Second Position
II 1
1st Finger
2nd Fret
Third Position
III 1
1st Finger
3rd Fret
III
2 3
III
VI
II
IV
III
1
3
Variation of Estudio VI by Leo Brouwer
IV
1
4
II
IV
1
3
IV
III
2
4
From Estudio VI by Leo Brouwer
Heitor Villa-Lobos
Heitor Villa Lobos was born in Brazil in 1887. When he was eighteen years old he started to explore Brazilian
music by travelling widely throughout the country. These journeys inspired him so much that he gave up the
idea of a formal training in European music and started composing pieces by improvising on the guitar. From
here on his career as a composer started to take shape with many works being written for many dierent
instruments. In the 1920s he met the Spanish guitarist Andres Segovia who asked him to write a guitar study.
Villa Lobos wrote twelve which he called Douze tudes (12 studies) which took little bits of pieces by
Brazilian musicians and created challenging pieces for the classical guitar. He went on to write a number of
other works for the guitar inspired by the music of street musicians. Many years later he even composed a
piece for guitar and orchestra. Villa-Lobos died in 1959. He is considered to be one of the most important
figures in Brazilian music.
Fernando Sor
Fernando Sor was a Spanish guitarist and composer born in 1778. When Sor was young the guitar was not
considered a very serious instrument and certainly not an instrument for performances in concert halls. Sors
many compositions and performances throughout Europe gave him the reputation as the best guitarist in the
world as well as making people realise that concert msuic could also be played on the guitar. Because Sor was
well known and because the guitar was a popular instrument he wrote many works for beginners to play as
well as an important instruction manual, The Method for the Spanish Guitar. There were very few guitarists who
were able to play his more dicult works so he was forced to compose many simple pieces that other people
could play.
Dionisio Aguado
Aguado was born in Spain in 1784 and learnt to play the guitar there. Late in his life Aguado met Sor and the
two became friends and even played duets together. Aguado wrote a method on the guitar called Escuela de
Guitarra. In this book he describes how to play the guitar using the nails of the right hand which diered from
players like Sor who used only the flesh. He also described his invention of a special stand for playing the
guitar which is pictured above.
Leo Brouwer
Leo Brouwer is a Cuban guitarist, composer and conductor. He was born in 1939 in Havana, Cuba. He has
written many very original works for guitar influenced by classical music, Afro-Cuban music, jazz and
modern composition. He has written many pieces for solo guitar including a big collection of short studies
which he wrote during the 1960s. These pieces explore many new techniques and styles of guitar playing.
Brouwer also wrote larger concert pieces for guitar as well as a number of concertos for guitar and orchestra.
The presentations, musical examples, and pieces in this book represent the lessons given with the Montessori Guitar
materials by Derek Gripper.
The book can be used to teach oneself, or as a guide for the teachers use of the Montessori Guitar materials.
For complete scores of the notations in this book, or for more information on Montessori Guitar and to download
recordings and scores by Derek Gripper visit www.derekgripper.com