F*O&*v*o> a* <o1y.

bv)
Parts of the Guitar and Their Function ##' """""""""tia{1
Tuning pegs

t#F,FI

4-, "

Regulates string tension

.y

----.ltot

toBC ol z"
1+Vffi."

Supports strings at upper

end-

Nut

7 v'y Fret
4-.y

l "'tit'&Ft

Pitch gradation markings.

2..-..er,q\\rbf r'l r,: Neck t,,*L<r'l+(:,,8

Made so that the lelt hand can slide easily.

+5tF.

"--'-.-.-'...'.-."7 v 'y I t L '> z1'r) y@ Fingerboard E-t 4f-Y>t--+y ?oL l.-lilt 6lv1.t'4 4r'1" 1..y 7 o)/rt, tW <-$.A

Hard *'ood which

an-

chors the frets and also helps prevent neck from

warping.

ll/:L (t'.

It

Strings

..--'.....-t,X# L { q + 7 o) *- 'f 4 s z a4ae i> rtt: L o tt?Ht 1" t&tt IJ't 4 a 7t|t#<:,5'3L<\'4 "'

The strings are made of nylon, and the lower pitched strings also have

metal incorporated into

them as well.

;Fr< -(W) """'+ t -o>41*a' &'6ry" Basic part of the guitar. l*6., e#,0)32oF'; It is composed of three Body ('<'5<r^"
parts: top, sides and back.

lmportant Top

part

that

board /:t.{i-2'*F\, A{+('

zZ **>ir,5.r,4, l9-l>*t7.r'6"

controls guitar tone. lt is made ol wood far soiter

than that found elsewhere

in the instrument-

t,

> f t-)v. - -. u u 3 t rit) xti r- I 6 f: Sound hole br-E$,,h:<t,6t."

-

(+-r^tri*) TffiitL< r,6o

:2 tti

lbrltl*L\\ft4

for audible production of the vibraNecasary

tions from within the body. lt's shape, made

of inlaid wood
lovely mosaic.
creates a

++{7
Saddle
WJ

t)

../

r).....*, of
-

o tt c o) I z "

Suppoas

the strings

at

th lower end.
Tramfers vibrations from the scrings to within rhe
body.

.- --

- - -

-- -

1t

ofxat
-(.

Bridge

+t

*l

t ;1, I .t t':

t--1

u> o)

t-t

r-2agF\"

Kinds of Notes and the Way to Count Their Durarion

ffi r|/tx{ ++o),"zfr

Olt,JLTtr)

(the signs within parenthesis are resrs *.hich take the same number of beats as the notes beside them)

(/t 'y = a rJ .lFl U&:

?ft

whole note

o (-)

l '>a'4#i'( 2

takes a count of 4 beats

2frft
half note
4

22<'+i+l-:FlLRl
two ofthese get a count equal to one whole note.

?^#

quarter note
B frT.+

eighth note

-r r r )rt)tr r r r
Jrt)
.b

42<'^i
r

-2

t-

I
the

four of these are equal to

whole note.

rffi-.;ff,i:ifl,!1l".
durationt18

t6rltr
sixteenth note

ty) -l r r

<'A*l

I -" Fl Uf<

l6 ofrhese take a count equal to one whole note.

ffitaLh,tc
Tuning Methods

&*o+btx
r

l'l U J i :, r\-? ffigf A : y^:t,+_tr 4 a "/ <"-r " H U,D 6 +,atto) t tt\ t

(#1t)tJ, + 7-

ts

fThe ability

to rune rhe

guitar will increase with

< r,

it' -#f& tlka ott::.t'{'L r a " < L 6 &E- -WtL < 3 f: L :+t)ffi-B ^at H U&bl f"
L

practice much the same as performance does. At first, it is better to use a sixoned pitch pipe. Then when proficiency in hearing the distinct-

ions betwcen pitches has been acquired, the

following merhod may be used.

.J

u:-.----nst

f 7 / rtT rlt t4"

L

tE,

I 6iH+,
o)t--*)

;Kt-.---..-.----* 5t,o> 57 v.y l. ly

/:( vlt-ffi |tiori&v.o)

(*

tuning fork,piano or pitch pipe to get the correct pitch. Next -----..Pressing down the fifth fret of the
use

First .......The fifth string is tuned to an A -

t6trr 6" )Kt,--"""""..4 4tto 5 7 v'y l- l? < * L t_ ('/) t_4 3 itortfita) * t..+>t4 " ;^:-----.------ffi3t0>47 v.y l. {? ( * L j,_ (>) r_* z *of*1rtfo) t+rt6" )Rl-"""""..fr 2t0) 5 7 v'y l. {T { *
L

fifth string, tune the fourth string

ro correspond to

it. (D)

Then----...Pressing down the fifth fret of the fourth string, tune the third string likewise. (G) Then-.:--..Pressing down the fourth fret of the third string,tune the second

string s

1 19.

t:( a)t:H I of&*,r)

&b+7r" ;^t--'--.--------4 6*,0) 5 z v'z l- iT < *

F1U

Next ..-....Suppress the fifth fret of the second string, and tune the first string to

4(i) tx.5orttat)
t--l
z

Last

it- (E). ---.--.Suppress the fifth fret of

the sixth
the open

"

string (A), and rune fifth string.

it to

+'r-0)##lc.1g bfuaF+
Terms Used on Guitar Scores
Signs Indicating Fingers ol the Right and Lelt Hands

a{E,fin t;r,lAZt

tt a#7 t

Signs lndicating Strings

^f

arT

e@o@@@
&tt
o)

. tj."

6 + o<'.

: L<' 1 L,

*a

Inl

*,,

+r.

right

'h+

$String numbers are always enclosed within

circle. Numbers
high to low.
are indicated beginning

lrom

40> (/ 3

How to Play with the Right Hand $ Al Aire

Theentire finger, incl'rding joints, are involved in the playing movement. The term 'plucking' the strings is applicable here. Take care that
the arm does not move together rizith the hand.

&ztv.74v
,i L I -1" &zf.+> f

#CIffifr o)fi ! L1 t'>'(. () ( t;*T, r> i t rt|'cb' ( s Yt.i ?*;5 <llt t J f i, lffiit': L J L-fur,1L j *z't't i :

t t t at- L <, 4. I fSF. t-E 4 l1 |-l?fttlI-# L2tl 4 !. a t'L r : L u < t)*<", ^ 3lt-' f: l> Y tJ,ka l-{gt t} h'b'-> /:fi.G1: t \ *'f " :o)2)o)(t !Xo)t*,\''llll, v'y 7> t ftll rt b: ;> tiLt'iLt-tLffi L < t , h'll lutl t\ JtL"
{EofAF 0>9t 3

*Apoyando
The movements of the fingers themselves is not as dynamic as in the previous method- After

plucking, the fingers should be resting on the

nxt string.

The student should learn the difference between these two different types of playing as his lessons progress-

l?o>ft::r',(
&

About the Nails of the Right Hand

lJ*_4 o rt\

t # o) a ' {F! (tE *Y.]-ED b'i,n-<4?/c.'i2 a') nY', o>ll L /:Ui,&(';E*f 4CIb:*&.<t', oltL t':ftto)*.1J, fu'Eo>+f> F "--/'"-t t.
' 'y

II

* 7-

$lt

<'Atr+YL<E!tn' Al}lja'f f r} L" Lh'Lrl!l'$lo>a bJh,r irf L in h' > 0> ll-f ,/-'4 {l ( , E 4-i Y o) h' h 7t t ! for :, fi: I 4 fr.*E tn') .i ( t. (li:Lt-f"

is usual in classic guitar playing that the nails ofthe right hand be allowed to grow out to a length of 2millimeters(when viewed from the palmside of the hand). They should also be filed with an emory board or very fine sandpaper so that the outer'corners' are removed and the edga smooth and rounded. However, while the performer is still a child, this is not always a condition suitable to everyday life.
need not be lengthened, butcanbesolateron,
as the student's perlormance level requires it.

Therefore, in the beginning stages, the nails

tY2a>t
Position Diagrams
&o>Affi I ;f:t :,2 = 7 ( 1 L 48,r,4 I 7 > 'v t t FLI L 2&g) <'o>' T, 4 ?L ?
tLo)
Y

$Diagrams belorv indicate the scale obtained in

lst position in which the index finger (l) holds down the rst fret, lt also shows the various pitches and their relation rvith the lelt hand fret position.

t 4Eafi z 4 tfft (7 > .y | ) Y Affr frtlLt:Loa'f

4

o..-tatr,w.-rHli#,0> t * r.--iPi ryFft" X.+tJ z o* "tlY z

o.-.lelt hand fingers not used, open string

o#&+"

*.+

markng. o ---location to be suppressed- The numbers are the fingers of the left hand which are

to

be used.

-.L

'} 7z

6
Yi

DE

v:

7z;

Fi

Ai

l.:

i77

@----------.i

EF

'r'. ll)
---6

ryL

o9frtr^ Ofg-@$ Open Strings I

( ) (Whole Notes)

at+

I"z

(f

Count:

Orc. T*o, Thte

EB 123

t
G

2
A

rit
E

4
Four

& 4,h+ t L ->/t 1 b.4 Ztt: i t (^ 3 L t), (O-@ l, t 2J tl < rn(* 4E) t

* {

^er-tk. (,^r'(lLi" &r * 7 4 v, 7,ir ( /i1r'"

>f

oat t r.tfi<

Count to four carefully. Using l'(the index finger) and ze (the middle finger) alternately, play notes I through 6. Learn both the Al Aire and, Apoyando methods

(2il)
(Half Notes)

in!n mim

(i+)
COUnt :

onc

L234 FN tsq
firG

(4atf

(Quarter notes)

tntrn im

rnam mim

(+)L

234

10

@t O$ t{fr.-ttcffi
Scales Using the Second and First Strings

@-----,
t:
c

)z
F

t
G

&::
s

/r'+.lJ,-trE

bt' I (

&&r'f

<lLi.
li

Ef,t.( L .>,J, t) L /_JE,ftr, t t;E

l,t'L, *.*at->

Now we will begin learning how to use the left hand, so listen carefully to your teacher,
and learn the correct way-

('f . /: tJ, &ina> F Il@ tf .ft i <, tl?ttlTth-47v.y t +,417v "t I t11zll" /)<, ^o)v$3CIiEti*.a 7 v'y l Lfr 3z v.y l Tt"
E ll

47 v.y l-l)?u, I r<-u{8;6?

The fref number is the sare here as the finger number. For example, the first C to be played on the second string @, for the finger number is I,

and the rst fret should also be suppressed. The next note, D, is played by the rhird finger (3) and the third fret is also suppressed.

t.'t.' cc

vv

DD

EE

7z 2z FF

t
G

&

r- i? it: (F3lf"

oltJ.&.4h-l<fi

it: I I l: L

The first finger (l) which plays the C is kepf held down until the end-

&

rn,J-

4:Y"

tt Ut 4H enrni) LrLLL

w -t

-f

Practice this pattern again starting

with the

middle nger (m)-

20)/v7\Four Melodies

&t

o)t- 4 (4.{E) t1*.a L

tl9-

: 4tt,

oifra)

vo)r-3
( t.

o>T, h.+r\ t:.41i

tt'itr

that where the fourth finger (4) is used for the G, for the.previous D is played
Please note

with the third finger (3).

./f

jL )V
F.Beyer

aa

:ll

, r- f e?, :CIrat < \ b'zf"

The Repeat

Sign- Material within the signs is played

again-

12

b) bx)
Lightly Row
4.&
F I '/
V<.-*

W *&

Cerman Folk Song Edited by M. Koyama

+'ift
Student

5x 5 6xi
ft.L
Teacher

6x i 6xj

taltl:*tu

r3

2t fs, Whole Note,

*"tfr.
Student

Half Note, and Quarter Note Combination

re,4ffiffiA<^t>bt
.r\ 4 s_ ll/

,t.J,

F#

f6#

F. Beyer

Edited by M. Koyama

,c*
Teacher

(lo;rir/r-r'=7)
(Variation of Piece Number

,,i 4 _t_

4.
I
Above)

lV

FiF

f6

F. Beyer

Edired by M. Koyama

*-'rfr,
Student

fr.*
Teacher

&rs! t-y'= z(Variation) lJ r**r O: Y<, L Y,)u't--FlY,* t>t:i/: ,' t.t '

rf"

l5

'zi
Cuckoo

E+ f6e German Folk Song Edited by M- Koyama

,1.J,

f' 4 '/

V<.'a*

ft.*
Teacher

&

Vttt--t<&LlLr i.

t tg e

t'rLrfr.vttr-t\,<f;*+o>t)

/Lt

To bring out the rhythm inherent in the 3/4 signature, put stress on the first beat of each
measure,

16

Ji'JiL:L
Gentle
Bee
*_t.
Student

.i-'.i<V\.* 4.J, # *6e

Bohemian Folk Song

Edited by M- Koyama

ft*Teacher

t7

@$n .@ttlfr.';tcffi
Scales Using the

Third and Second Strings

v
G

2
A

v
B

l*1t-tt open string

fr27 v'z I
2nd fret

l*1t\lt,
open string

*f'L t'
New Notes

tuLLwj
Exercise

18

*f^eo)k
Song for the New Student
German Folk Song

l'' I '/ 7r, =* ,]. E# f&#

Edited by M- Koyama

+-lfr.
Student

ft*
Teacher

.r

&,y L+err'-a\

t TTLLL o i t 6 :

"

fPractie this until it

can be played rapidly.

19

(LLL,p ) ffi
Etude
rD->

(\

,..,t

"/t)V=F# *&
C. Czerny

Slowly

Edited by M. Koyama

*'rrt
Student

ft+
Teacher

t,-rJ

JJ nbbFtu("f. 6af{u 22<t l I f"

* t7

is the same ur .D.D

Two eighth notes

get one beat.

@$ @ft
Scales Using ths

tlfr.->tcH Fifth
and Fourth Strings

gG
@

@-

t"

v
D

i.
E

7z
F

v
G

43zv.v

Third fret

xltlli
Open String

ffi2zv'y I
Second Fret

437vyl
Third
Fret

4f L

t.*

New Notes

*tLLwi
Exercise
I

faLLwl2
Exercise 2

21

3rA6E
Twinkle, Twinkle, Little Star

,t.

71 /

x&.-';* n# *a

French Folk Song

Edited by M- Koyama

+lrt
Student

ft*
Teacher

22

7?t)t) x
Amaryllis
(f
)3 Count:rn,*

& 1a>o>*ttJ7,

- ^ (, r:f t _o) ( I 1) e^L (t'1f " :o>&al i : lJB jt' l U j 4 <.tJ++ r_ 7 v * Ar) 'xtl.ola &.tn?T ? +: > f:ii L j L r i "

in.rhe melody). ln pieces which begin in the middle of a measure, such as this onq special atfention musr be paid to the phrasing.

Lines above the notes indicate phrasing (turns

Ftro(ffi6)4LLL
Whole Scale Exercise

2
1234
Oe.ard-Tso.and-Thed.Fou.nd

& 2 l4i Tt--zrAgt{t *>?t-(.t,t i,-f E'tf!a|n,, 6 ( :*r4-(.r * <.+ . ,\:4F.1t,t-n<ILLL r i L I L r r"

Exercise 2 uses all the notes we haye learned far practice this one until the proper flow of eighth notes has been mastered. this