0-127 DIATONIC MAJOR AND MINOR SCALFS— Andres Segovia $2.95 DIATONIC MAJOR AND MINOR SCALES by ANDRES SEGOVIA COLUMBIA MUSIC CO. Washington DC. 20036DIATONIC MAJOR and MINOR SCALES By ANDRES SEGOVIA Andrea Angeli Via A.Baldesi n° 15 50131 Firenze Tel» 570570 International Copyright Secured The thoughtful musician who reviews the history of the guitar from its earliest begin- rings cannot but be surprised at the lack of a practical system of studies and exercises coordinated in such a way as to permit the faithful student to progress continuously from the first easy lessons to real mastery of the instrument. For this lack we could blame three great_men who have revealed to us the true spirit of the guitar - Sor, Aguado, and Tarrega. But they have an’ excellent excuse for their neglect: they devoted their time religiously to the task of provid- ing the guitar with the only really valuable repertoire which it can claim. This is es- pecially true of Sor and Tarrega, Aguado did continuously interest himself in the prob- lems of teaching, and with worthy results. Indeed, his didactic works are superior to his scant output as a composer. Although his “School of the Guitar” is a disorganized compilation of studies without progressive logic, it is useful for the student who is al- ready far advnced and who does not require elementary lessons. The beginner who tries to learn from Aguado’s book will find him- self floundering helplessly. The beautiful, PREFACE OF the three men mentioned above, Tar- rega did so much to make the guitar the sensitive instrument that it is today. The ‘thers have left us a few pages synthesizing his rich talent and the wisdom drawn from his experience. In such a book he might have counseled us with the same good sense and the same helpfulness that characterized his teachings during his lifetime. The ex- Press statement of his intent as a teacher, unalterably preserved, would have rend. ered a fruitful service to the guitar in the future in our own time by excommunicating all the false followers who misguidedly teach the guitar in his name. Since there is as yet no definitely establish- ed architecture of the seudy of our beloved instrument, we believe it is our duty t0 try to fill this lack. Apparently no one has cared to leave the trace of his first efforts on the guitar, perhaps fearful of imparting f0 the pupil the mystery of his ovn ap- Prenticeship. We, on the contrary, are only too happy to set down such a record, em. bodying examples of our own conquest of the problems we faced, in order to help the to the uemost his a useless lessons which comprise one part of the method please his ear without limbering his fingers, and the others will be far beyond his capabilities. ‘The student who wishes to acquire a firm technique on the guitar should not neglect the Patient study of scales. “If he practices them two hours a day, he will correct faulty hand. pos. itions, gradually increase the strength of the fingers, and prepare the joints for later speed studies, ‘Thanks to the independence and elasticity which the fingers develop through the teudy of ‘scales, the student will soon acquire a quality which is very difficult to gain later: physical beauty of sound. I say physical, because sonority and its infinite shadings ate not the result of stubborn will power buc spring from the innate excellence of the spiti In order to derive the greatest possible benefit from the following exercises, play them slow- ly and vigorously at fist, more lightly and rapidly Inter, ia moe heat ce seales may be con- deroed enoy bars of axduous contin widen oe frequently futile, The practice of scales enables one to solve a greater number of technical problems in a shorter time than the scudy th ise. ie cee ANDRES SEGOVIA ANDREA ANGELI Chitarristas, 17 c Copyright 1953 by Columbia Music Co.DIATONIC MAJOR AND MINOR SCALES i = index GUITAR Bee (Revised Edition) a = 3rd or ring finger By ANDRES SEGOVIA Practice each scale apoyando seven times as indicated below. 434 41 124128 42 e412 3 pfEte 1344 GUITAR SEF HI ——"@ @—Ja seeesiateeeeetel is Poimimé 3a bape ii. E ae BERR eS Seeeany orp see eeg 3d 6) Copyright 1953 by Columbia Music Co. International Copyright Secured _Printed in U.S.A.2 1 4 2 nas 2 aiete e (Oia 1 4 2 —- ise aL 6 dds (8) + fess 3 4 = A Oa) (5) Toy ely 2 4c 1 4 te 2M — 6 —T7 2 (3) = x e (3) Os t mel ie as sic: 9 (y ——— — ave @7® Scales-7+ { [Te Hiya ete Sasa, : Pia ee oh sag Ce) eae 1a The= 2 1 4 ae ' a sere fe gre Fee eer aa saaeae = i om oe geese 42 Per eaten a 4 3s 3 =t i 1 I t == THE — — a (4) << seas (—J (ayy eee EE 2a 14 a) 1 es hehe 2421 eaters es @—y (3) ay ee (8) ery(6) 24 sila: #p — a4 1 3 -- a4 2 tt + eas (3) —_ cm (5) J) a seen eS 3g s ihete eee i ; (J 3 eeoF (4) —J (5) —1 46) eae) + = WT 75+ yt a oy Zoo (6) fae 1 pepe iE OO ae et + t i + — a) a (sae