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  • M. Carcassi's Method For The Guitar

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    Carefully Revised and Enlarged by Walter Jacobs

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    M. Carcassi's Method for the Guitar

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    Carefully Revised and Enlarged by Walter Jacobs

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    1K vues152 pages

    M. Carcassi's Method For The Guitar

    Transféré par

    Esat
    Carefully Revised and Enlarged by Walter Jacobs

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
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    . cum Spc Methad A for the (J Gui i tar f>' So WALTER Jacops. Contents. FIRST PART. Axpoggio exercises inC major 5 ee (Chords and Arpeggios in the easier keys 5. (Chord fingering Diagram of complete fingerboard ‘Elementary principles of music ‘Examples of right hand fingering ‘Exercises on the G and B strings General information as to postion of body and hande, man- ner of picking, tuning, ete., ete. Key of C major «gu ape a KeyofAmjor . 6. we «Ee eee ope “A minor “Dw Scale io C major and exercises for learning to read in frst position Selections and exercitee for further pruetice in Ist post tion, including « Home, Sweet Home" var. and ‘Carnival of Venice” and var, ‘Time Jssons SECOND PART. ‘Of the Slur, the Glide, the Gruppetio, the Trill, the Mor- dente, ete., ete 4th position. oe 5 bh tm 4 om 5 3 | Five melodious exercises bo. Harmonics ae Mixed positions Mixed position study OF the intervals The diferent keys, major and minor, co THIRD PART. ‘Pity progremive and melodious exercises. 01] FOURTH PART. CONCERT SOLOS AND SONGS. A Media Noche Jone Aviles Love's Dream after the Ball. A. Cathe Magne ee CA. White Moumiain Tl = Cart Bohm ua ua 45 1st Serenata, Op. 15 Only the Stars could Tell Poor Little Dolly w s 6 6 cy 4 88 Morite Mosskooski 189 James Foirehild 161 Geo, Sehiifarth 149 COMPASS OF THE GUITAR. ‘al tones) is three octaves and six semitones, extending from E bel ea > ye mae att w te wand at oonee EZ 7 na» teh 90 Ist String. 2nd ard» ath ath oth 0 [st [is Teles [> 3 |o | Js» o/ a) | ole [a Met String. 2nd © FINGER-BOARD OF THE GUITAR. oth The Chromatic Scale of each string. BE Be i & sand 16th frets ave the fret may be nthe higher tones proceeding the ‘nd Gth. ony ait octave higher. Therefore the t reekoued as the open strl ne Ast posi same as in the 48a 39 ELEMENTARY PRINCIPLES OF MUSIC. PRINCIPES ELEMENTAIRES DE LA MUSIQUE, Mono is the art of combining and exprening sounds, A succession | La Matique et Vart de combiner las sone, ot do fu exprima, La ‘various agreeable sounds prodacss MuLopY. _sseeesion do divers sons, combinés d'une maniére agréable, produit le Soands 40 combined that they arg hard simultaneously produce Han- | melodie; les sons combin‘s, de manire & ce que Treille entende lear ont. ion simulanée, forment Pharmonie. ‘To express wounds, signs called Nores are wed; they are written on | Pour exprimer les sons on ge acrt de petites sigues apples Notes; oo Tes intrlignes ‘Tuete five lines and four spaces are called the Sarr. Liensemble de ces cing lignes s0 nomme Ponrax Comms cer cs ‘As the Btalf isnot of auficient extension to express all the sounds in | ligues, ov Portéc, ne sullvent pas 4 'étendue do la Masique, on eu ajoute ‘Music, addtional or Leoxs lines are introdased, above and below the | des petites, an dessus at aa dessous de la Portée, que Von nomme lignes Bea, when required. sdditonelles, {tre parallel line, and inthe spaces between the lines. | les ecrit sur cing Hignen hovizontalen ot parallées, et da ores ox xe Lives. ones ux rae Spaces, ® te = penn raves meow te Stave. ptr aoc fo igen addfuoueelin a deatous dela Pte, I — == ff aS +> > a 4 cad OF the Notes. Des Notes. Mvato is composed of seven notes, which are named after the frst | La Musique eat composts de sept notes que Ton nomme UF, ni, an, seren lotors of the alpbabet: 4,2, 6D, x7) @; by repeating the fiat | va, sot, 1a, ot, et répétant or & Vctave hate, on formers Ie sncoeesion ‘owe, C, a sale of eight note is formed, called « Gamat de huit notes, que Ton appelle Gamme. oanur or © Naronat. Giogee Narunetie o'er é Gage Many yl 9 > ut ody & mle Of the Clefs. Des Clefs. ‘Te Cure ia sign placed st the commencement of the Staff to deter- | La Clof est un signe qui se met an commencement de la Portée, poar imine the name of the notes. There are three sorte of Clefi used in | determiner Te nom des notes. Ml y a trois sorter do Clef. La Clel music, The Taeatx, ot G Clef, of whichis placed on the second line | de Sol = qui so pose wut Ia seconde ligue, sal, est employée en com ‘aly, ie made use of in composi $F tions for the Guitar. positions $F pour Ia Guitare, Norms ox mas 6 Cusr. Worms on ta Cun pe CARCASSI’S INSTRUCTIONS FOR THE GUITAR. @ ‘Character and Value of the Notes and Rests. ‘There are saven forms of Novas, each having a diferent value. By ‘the valoe of s note it understood the duration of sound which it repre- ‘ents; this daration ix determined by the form of the note tte. Each ‘of these notes has a Rest or silence, which corresponds with it in value ce deraton. Figure ot Valeur des Notes ot des Silenees. Les figures des notes sont an nombre de sept, qui sen de sept valeurs a = = Fea Eff cone: mr ae pur an vob io vores Taw, or 2) § pS Fp Mesvnen zreanappeee Seren | Ete jf ‘and in beaten thus, 9 par un 3, et se bat ainsi, 4 ‘Teriveatont Tow, devin fom Common Egy Meure douse tit dreds dt ear 4 oo F eraybily mye mee nial ry ome = = c= ee Meare nat bu ved da mene trl p ods beatan in thre isos. heel = tem; lo se manque par un 3, cbse ba 8 trea ‘Mesure i six uit, dévivée de Ia mesure & deus tome elle ve marque par un &, et se bat & deux tems. A Ban of to heats, called “atta auev.” and marked by a for 2, is beaten in two divisions, and is the tame value as comMON TH¥e. ‘Mesure & deux tems, appelée “atta aera.” elle ‘marque par un fou 2, lle’ ae bat A deux toms, ot we compose des mémes valeurs que la mesure & 4 tema, ‘Tunae-niour Thor is marked 3, and is beaten in ‘Mesure & trois it, elle se marque par un 3, ot o@ three divisions. Dat & trois tems. Of the Triplet. Du Triolet. ‘The Triplet in group of three notes, over oF under mbich the figure 3 is placed: these three notes are Played inthe time of two of the sume denomination. Le Triolet eat une groupe de tris notes, sndigué pat le chifre 3 dont i est surmonté ; dos trois notes doivent ‘tr fites pour Ia valour de deux. ‘When the figure 6 i placed over or unde a group Lorsqae six votes sont surmonties dan 6 lan of tix notes, i indicates that theve six notes have ‘ont la valear que de quatre, bet the value of four. ‘Bina Méme valour, CARCASSI'S INSTRUCTIONS FOR THE GUITAR. 1 the Legato or Bar, the The and Spneopatin, | ‘These three terms are indicated by a carved lino, ooanecting several soton together. s Suomnen Notus. By this we understand several note formed in succession by a single ‘rbratoa, ‘Tien Nores, The Tic indicates that the oter should be held out through their whole value, ax far as the sign extends Sracoraren Nores. Syncopation isthe binding of the unacceated part of a measure with the accented part of the measure follow Ing, so that i all forms one note, Of the Sharp, Flat and Natural. ‘The Sharp (f) ins sgn whish rates a note a semitone. The Flat (@) lower itm somite: and tho Natoral (2) restores a not, alter ‘by sharp oF fa, ot origina! sound. ‘A sharp of fat placed before «not, called an Accidental and acta iy inthe barf which tocar. ‘Thor are cate heer where anal eval afectato fallowing: mowsre, vrs enh las note of haeanere Aaa soiientl before andthe fn noe of the folowing manor “Shen ns tiga lca the ofa piece of iat tbo Gatto pout ont tom allt ol wie are toe ot pac, ri ant Inter on aby other dope on which these ‘Spon are ass, iv aloctod by tem." Tre are a any sharp and fata SEC eee ech he pon Seginog ih Fey Ab a Se a Sa abl lng eowading sn by fle desomndig. ro not Du Coulé, de Ia Liaison et de la Syncope. Ces trois dévominations so marquent par un trast recoarve — qui lie plasienry notes ensemble. Nores Couuies, On entend par coulé osioars note fle suresivement par une tevle vibration ores Lrits. tm Liston indique got fou tone fon note de ate lar vale poe dant i dade de sg. Noes Srwcorfes, On entend par syncope une note quite paiage Slement Catron parti faible an tome 6 la partie forte da tnt evan Du Diexe, du Bémol et du Becarre. Lo Ditzo (f) eat un sigue qui hausee d'un demiton Uiatonaion dela note, Le Bémal (2) la baies d'an demi-ton, et le Bécerre (4) rem daow won ton primitif la note altérée par le Diczo ou lo Bémwol. La Ditee ou le Bémol, port A edté Tune nota, note accidental et wgite que dans la mesure od il eat plac. Mais lorequil st placé au commencement den moreenux de mosique (ce-qu’on applle bla Clef) pour en ddsigner le ton alors toutes lee ‘notes qui portent le meme nom que le dégré od sont posé oes sigues prennent le caractére. Ilys ataot de Ditzes et de Bémole que de note; ls Dios 46 po- ‘seat (en commengast parle Fa) par quinte en montact ou par quarte cn descendant ; les Bémols so posent (en commengant par le Si) par quarie en montant oa par quinte on desoondant. DG o F me Sot tke “utSharp, 9 34 ath BOT ier Dib, ‘The double Sharp (1) raises the note one tone, and the double Plat (2) lowers it ove tone, a Natural and a Flat (2) counteracts « @@), aNat ‘ral and « Sharp (i) counteracts 8 (3): ‘the Intervals. ‘The dintanon between two sounds is called an Interval eons. Te on El ae tueae 24 4 ath th ise Bénwl, Ilys ammi le double Ditze (1x) qui hanste la note dan ton, ot le double Béimol (22) qui Ia baisse d'un ton, Des Intervalles, On appelle itervalle Ia distance qu'il y a d'an 4on A un astra Ba six, erenth. Stree. Sepiieme. —<—— Of the Tone and Mode of Key. ‘The principal note on which a musical composition is extabliahod ia ‘alld the Key-oote, or Tonic. Any note ean become the Tonie or frst ote af the Seale. iE Eat ‘La principale note sur laquolle un morceau do musique eat 6tabli, ext appellée In vote da Tos, ou Tonique. Toutes les notes pouvent tre ‘Teniques ; cesbadire, premiére note d'une gamma, CARCASSI'S INSTRUCTIONS FOR THE GUITAR ‘The modes are the character of the Key; they are of two kinds; the Major mode, whose third ia major, or oomposed of two fall tones, and ‘the Minor mode, whove third is minor, or composed of a tons and samitons. ason Tao, We @. — Of the Seales er Gamats, ‘There are two kinds of Scales, the Distonie nod the Chromatic, Tho Geale is Dintoaie when the five whole tones and two semitones, which ‘uodeed each other regulary and inthe uataral order, wheth- ‘er ascending ot descending. It is Chromatic whoa the five whole tones ‘othe Distonie Scale are divided into semitones, x0 a8 to form twelve of these in the compass of the octave. In the Diatonie Scale, the two semitones are found between the third snd fourth, and the seventh and eighth degroes i the major mode ; and between the second and third, andthe seventh and eighth, in the minor. Scate or C Mason, with the tones and semitones which com: pote it ‘This sole may verve at a model for all the otber major sales, fearx Ascexorse, ‘Gomme Monianin Yo aaa” HE Le mode ext la caractire da ton; ily en s deus pices; le Mote 1ajoor dont In tidree ext majeure, ces--dire composes de doax toms pleine; et lo Mode minear doot la tiéree et minente, cet-dire com | poeée aun ton et d'un demitone. ape =e Des Gammes, Ty a deux sortes de Gammes; la Distonique et la Chromatique. Le {gamne ext diatoniqoe lorsque es cing tons et let deux demi-one qi le composent s'eachainent régalizrement, tant en montant qu’en descendant, ‘ans Yordre naturel. Elle ext chromatique lorsque lew cing tons de Ie {gamme diatooique soot diviaés en demi-tona ce qui en formers donae dant Pédendue de octave. Dane la gamme diatonique, es dour domi-tone, 40 trouvent du Se. a 4e. dogeé, et du Te. au 8. dans les tons majenrs ; et du 2s. a Se, degra, ot da To. au Be. duns lee tons mineurs, Gasore o'r Musto, avec lee tone et lee de 8 qu Is component. Cetto Gamme dot servir de modle pour tontes les autres dan le mode majeor. Soae oF A Mrtox, with the notet and semitones which com- ove it ‘This sonle will serve as » model forall the other minor scales. ‘The Key of a pios of mano indicated by the nombar Flats which are found at tho Cif. Bach Major ka, which the pincipal Key, has its relative Minor key. i | pollersi tom prieipal, « wn ton mineur Catze gamune servira de moddle pour toutes les sutres dane le mode smineat. Le ton d'un morcoan de musique se démgoe par le nombre de Dies ou de Bemols qui se troavent & la Clef. Chaque ton majeur, que Pap ll eat relat CARCASSI'S INSTRUCTIONS FOR THE GUITAR. ei called rolatve, beeausa it in marked at the Clef by the same num ber of Sharpe oF Flats as ite principal key ; exsopt the key of C major, so its relative A minor, which have no signature. ‘Tue relative key is «minor third below its principal key, a the fo: lowing table shows, C Major Mode, @ Major, D Aajor. A Major. UeMode Majewe. Sol Majour. | Ré Mafear ‘A Minor Mode Le Mode Mineur E Minor ML Mineur B Minor. 1 Aine Major Mode. a Mode Majeor Bi Major. ab Major. St Majour Ab Major. Tab Majer. On lo nomme relatif parcequil eat indiqné & la Clef par le mime ‘nombre d’accidents que son ton principal; excepts le ton W'Ut majvor, af de La mincur, sou relatif, ov il n'y a rien & a Cet ‘Lo ton relat s@ trouve une tire avaeur a desannt de sou tom pi ) sins ger ae eh, oe ee ip tage ae bee | Qa, ee ape ae, SB Mineue ‘Te shorten the stndy of the foregoing tables, and to know in which ey a pince of matic iit a noctaary to know that when there are no fats ot sharp a the Cf, i is in © major or A miners wih co f the major key i oe semitone sbore ce lat sharp placod at the Clef; and the miaor kay two semitones below it; with tho the major kay in fre seasitones balow the lst Bi the signature, andthe minor key four semi tones shore. ‘To kaow whether we arv inthe principal key of the major mde, or init relativo minor its neconsery to examine whether the fh of the suajor key is accidentally altoed by a sharp of natural; if not, wo are ‘nthe principal major Koy: if it ig altered, we are in the relative Of Abbreviations. ‘To abbreviate is to represct several notes by 8 single one or by singe sign. Pour abreger I'étnde des tablesur prices, et savoir dans qval ton ext un moreea, 9 romarquera que lors’ n'y a rien 3 la Cle, il ort eo ‘Ut majeur ou en La minear ; avec les te ton majeur est un degre an easos du dernier 2, pose & la Clef; et la ton mineur deax degrés aw ‘dessous ; avec les P le ton majeur ext cing degrés plus bas que le dorvior b poss ala Clef, et le tom mineur quatre degra plus haut ‘Pour convaitre st Fon ett dan fe ton principal, mode majeur, om dane ton ton relatif, mode minor il faut cherehor dans les premibres mesure a morceau sil quinte da ton majeur est altérée nocideoialamen par ‘un $ ou par un 3; i elle no lest pas, oo eat dans le ton principal, mode | saajeors et si elle ext altérée, on sern aus le ton relaif node mineut, Des Abbreviations, Abrégor cst reprisenter plusieurs wotes par une seule note, ow pat ‘un seal signe. ‘The PavaR 18 paced over note and reals and denotes that thy per former may top ot sf the piece plesre When oe dou bart signe se | panes qe oe = | Le Pomsr wonov: = place indistinctoment sur ls notes 44 sar lat peut #arréter A volonte 10 CARCASSI’S INSTRUC ‘Tur Barer indicat that the part is to be repeated. When the ota are before the bar, the previons division im to be repeated ; when, ‘fer the bar. the division following. Da Caro. oF D.C, indientes that the piece ie to be played again from the beginning. 5 indiates that the prece is to be vepestea to the word 'F, which may not boat the beginning of the pace. = half loud, suddenly J, Aocreane. TIONS FOR THE GUITAR. Storxs px Rewvous, Tndiquent qu'il fot ripéter le moreean a mosque du e6té ob sont places le points, Da Caro ou D. C. indique Le Rexvor junqa’an mot Fox, il mat roprendre a0 commencement, indiqae quil faut reprendre Je morcean ce sigue J | Signes Indiquant les Nusmces. | Ja plano on vat die dea. my ect ieee | tee pps plane, oft eet uy fire oat 2 Langue Taf. ilefort dim INSTRUCTIONS FOR THE GUITAR. METHODE DE GUITARE. FIRST PART. Manner in which the Guitar is Strang and Tuned. ‘Tha Gitar has six atings; the three frst of which are Gat, and he hoe others of silk, covered with silver wire. They are tuned by Fourth, with exception ofthe second string, which is tuned a Major Third he third ating. PREMIERE PARTIE. Maniere dont Ia Guitare est Montee et Aecordee. ‘La Guitare ext montée avoc six corde, dont Jes trois premidres samt en boyaa, et ls trois autres, on sole Sige d'argent. Toutes waccotdeat ar querte, & l'exception de la 8o., qui sacoorde par wores reo be 2a, SS EE EES CECE CE CEES ‘De boyae ‘Manner of holding the Guitar, and the Position of the Hands, To hol tho Guitar well, icin weoensary 10 sit 00 seat a Hite higher ‘han thowe in common use; the left foot to rest on stacy of a beight ‘proportioned tothe Seat throw oet the right leg, drawing back the foot ‘lie; the left 19g to preserve ite natural position ; the weight of the ‘ody of the inuirurment to rest principally an the let thigh. De woe te dPargent. Maniere de Casseoir pour Tenir Ia Guitare, et Position des Mains. Poor bien wn a Guitare, i fat vameoir aaron sige un pepe clevé quo ceux dont on se vert ordinairement poner lo pied gatehe sat ‘un taboaret dune hantear proportionnde belle do sige ear leqeal on cat aatit;eansite on dears la jambe droite eo reculant un pes Te iad Ja jambe gnacbe conserve sa position satire; Te poke de eorpe rapem sm grande parti er In cuits gauche it CARCASSI’S INSTRUCTIONS FOR THE GUITAR. Being thos seated, the Guitar in placed transverscly on tho loft ehigh, os toon in the drawing, ‘Tuis postion is preferable to all others, bocause i offer three points of support tothe instrument, wad balances it 40 ai not to require the support of the hands ‘The Left Hand. ‘The left band should lightly pross the neck between the thamb and the fore fingers the end of the thumb should rest onthe side next to the thick string, between tho Int and 24 fot, and the large joint of the fore finger between the nut the end of the finger board, and the Tat fet, on the side next to the sal sting. ‘Tue arm should bing matarally, wth the elbow separated from tho lunty. taking eave to hold the fre arm and writ curved ; the fingers hoold be separnted, aud held as hammers ready to strike the strings be- trreea the four fst fois ‘The fiogers in this position will naturally fall upon the ehree frst savings; when they are required to reach the other three strings, the should be atill more curved, and the tkamb put more under the wok. The thumb is alto ased sometimes to press on the 6th string for particular notes; whon to be thus used, the word rHtoMB will bo placed ander the notes. The Right Hand, ‘he right fore arm should rest on the edge, formed by the side and ‘the sound bound, in the diretion of the bridges the lide flager shoold be extended ani rest lightly on the sound board, near the fst sting, sod « lite distant from the bridge. The thumb should be extended and placed on one of the covered strings, the threo other fingers litle euryed tw be held over the gut strings. Moving the hand towards tho rosette, the tone of the Guitar will be much softened. Manner of Touchi i the Strings, ‘Tho strings nre made to vibrate wits the thumb, Tet 24, and 84 fine gers. Tho 6th, Sch, and Ath stringson which are played most frequently ‘what are called Bass notes, are played with the thumb; the three other strings ar played in the gammats and phrases of melody with the 1et and 24 flogors alternately, changing the finger at each note; the 8d fager ia ‘ued only in chord and arpeggios of 4, 5 and 6 note. ‘To obiain a full and mellow tone, it is necesary to apply some force ‘with the end of the Ginger, voiding to touch the strings with the nae, the Gogers mont the strings obliquely, 90 as to causo them to vibrate serow the finger boar ‘The thumb of the right hand, ia atriking the thick strings, should ol sways aldo to and seat upon the ering next to the one male to vibrate, tnd shoald ot be -rmoved but to atike the next notes except jn cater ‘there the string om which it has slided should be made to vibrate by so- ‘ur Hngor immediavly afer, when the thar oaght to strike the bring ‘without touching any otbye. ‘Une Gin bion asia do cotto manidre, on pose la Baitare traneversale- ‘meat sui la exiase gauche, comme Ia démontre Is planehe précédente ; cette postion est préérable toate ausre parcoqu’elle ae trois pointe ‘Yappui & Pinstrament, qui se trouve en équlibre sans que les mains sent | oie dee ri ‘La main gauche doit promer légéroment le manche entre le pouce at index, Vextrémité du pouce dot power du edté dos gromes eordes entre 1a Ire et Ia 2me touche, ot la grande phalange de index entre lo sille: et 1a Ire touche du cfté de Ie chanterlle, On doit Ininser tomber naturelle tment Ia partie supérioure du bras, éenrter le coude du corps em ayant ‘vin do tonir Vavant bras et le poignet un pea arrondis. Les doiges doi- vent se tenir éeartés, et en forme de martoaux ay demas den cordes, pits {so poser sur les quatre promiérer couches; les doigts, dans cette josie tion, tombent natarellement aur les trois premibres carder lormqu'ils doi= vent attiondre los trois dernibres, il est nceetaired'arrondir davantaye Ie poigaet, et de placer le pouoo plus au detsous sy mance. On so sort aussi quelqueois du pouco de cotte main, pour dnigterquel- ques notes A a Ge corde, du eité opposé anx autres doigts. Lev notee ‘qui doivent étre doigtbs siusi sont iiquess parle mot Pouce. 4 ‘place eu destous des notes mime, Lravant bras droit doit table d’harmonio, dans la direction su chovalet Le pit doigt doit peu s'earter, ot so paser logiremont sur la table dTharmonie prée do Ia chanterclle & peu de distance du chevalet. Le poco stem allongs ot en dehors des autres doigts, et posers sur une dor condos fe: trois antes doigt, un pon rooourbés, se tiendroat au devaus des trois cones do hoyau. Lorequ’on veut aioucir lo son de In Guita a main vers la Rosette. On 4o sert de quetre doigts pour pincer los conde de In Guitare : 2 sont: le pouee, Vindex, le médium et 'annalaire, Uy Gme, Smo ot 4mne Corde, sur lesquelles, sexéoutent le plus souvent lex notes appeléen asses, se pincent du pouce: las 8 autres cones 60 pincont, d Gammes et le phrases do mélodi, avec V'index ot le médinm alternative: rent en changeant de doigt & chaque note. ‘Le doigt anaulaire ne ince que dans les accords ot arphges componée e 4, 5 6 notes. ‘Pour obtenie wn son plein et molleux, il faut pincer uo peu fort, mnie roideur avec Vextrémié des doigts en evitant Io contact dev angie contre len cordes, qui doivent dire pincées un peu en Dies. Le passe de Ta roa droite en attaquant les grosses cores, doit toujours gases aur la corde 4 cit de ese quit went de pinosr, et ne doit se relever que pour pinoer une autre note, excepte poartant dans le cas ou In corde war lee ‘quella il tombe serait mite ex vibration par an watredoigt dane le mime tars ou immédiatament apris, alors le pouce dot ataquer Is sorde sant 12 CARCASSI'S INSTRUCTIONS FOR THE GUITAR. To some cases iti neorseary to pay on the Sd and 24 strings with the ‘humb, and on the 4th and 5th strings with the lat and 2a flogera.Thia in the cave in chord, arpeggios, &., and even in cantebile phrases ; tho ‘motes tobe plased with the thumb are writen with a double til if to be played alove, and with the tail turned down, if double. ‘2 toochér aucune are, Hy a un grand nombre de ous ot Je poses ext oblgh de pincer lee Sme ot 2 cords, Vindex ot Ie mbdam a 4m ot sméme ln Sme corde, oo cas oo prsonient souvent dans les sccordy lat sarpiges, ln panages do ibrooe sixtn octaves ot mlme slant lea phrasea hartantor; lot notee qui dans tus sous doivent re pincses du poise, tont ériton avec une double queve si elles fappent sales. et avec la queue tournde par le bas i eaten soot dables Of Taning the Guitar, sn A Pech Pig nwa in tang she Gait, o hich she th arog a. net tanga uh seth ht ‘he Gogor hoard, wiih will then give Ds to which the 4th string is to eee atertt te tog ton io be paced pon the Sih eto weiUivewtog bien wil ge G, to sch to Si tng ito be taned eescee thar te Sager tpn the Ath et of he Bd ring, bch Sates nlite ane 20 ring sto be tant in tnenos ns he | Tepsits tho ea the BT tog, whieh wil give Br to is the Se tee ta tne tn ana, Tw Osage ten to be sect aE aioe bot atthe dae of to Setar lower Pour acoder In Guitare om so srt d'un Dispason (petit jnstroment acier sorvant 4 doar le Li A tous les intraments) a8 ton. duqoel om seconde a Se code tk: on pons on doige tin Smo cave do ete meine corde qui donne slors i, ot’ accorde la dee conde Faninon de ce 1b; on pose un dogt & la Sme case de In dime conde qui donne alors wot, fom asords A Tunaoa Ta Simeon on pose om digt Ala fee ean do a Bine corde qu danae alors st, et Yon accord Ia Yao corde h Pune Sam avon co ston pone tn doigt hin Sa cane de Pee corde qui doses?” ‘ove bron nooono la otaxrsnetie » Puninon avec eo'an. Lay ‘ino cordo tant wm Mi anes, s'aoorde avec la chantorale, mais i dea TN. B. The Pitch ofthe Guitar is ove octave Zuer thn itis wrtan, xsept the harmonic tones, which sound a ie pitch they are writen, | oeiaren interval: EXAMPLE EXEMPLE. tea Srna, |, ao Sa ious, Isr Sexo, orice cone” | "Six conve | “nue Compe. tne Coupe. = Gime cam, | vider meee | "hve a iB CARCASSI'S INSTRUCTIONS FOR THE GUITAR. ‘Afar having tuned the Guitar by the frets it is woll 1 prove it by swanling the folowing octaves, ‘Apris voir accordé la Guitare par anions, it ost boa de wérider Vaocord en faaant réssuver ensemble lee octaves suivantes, ro ct = ‘The following are the signs uted by most authors who have writen for the Guitar, to indicate the fingering, and which are adopted in thi week. + os ‘THE LEFT HAND. ©, Open ating. 1, First Gnger. 2, Second ager. 8, Third fnger. 4, Fourth Soger. THE RIGHT HAND. First Sager... Seoood foger. «..« Third finger. x Thumb. The Pesitions, ‘Thoreare us many postions as there are frets on the finger-board. Tt 1a the Lot finger that determines the position in which the band ia; thus, when tho Ist ager is placed on the Ist fet, Uhe band isin the frst pos tion, and wo on with the other postions. GAMUT SHOWING THE NOTES, AND THE EXTENT OF ‘THE FIRST POSITION, “The igaren plod over the natn indicate the agers of the lft hand, and sao the frets on which they are to bo placed, except the lat note. The open stige ae ndiatod by 0, the Tat ager and at trot by 1, the 24 fnger and 2d fet by 2, ho Bd dager and Bd fret by 8, and tho Ah Sagor abd Ab fot by & ‘The agers of the righthand are indicated by X forth thamb,« Arvt Sgr, wecond ger, « 5 «thind ger. NATURAL POSITION. : LSS zi os Pour eviter la maltiplicité embarraseavo des sigoes par rap port om Aoigter, on jugé & propor de suivre In mthode adoptée par la plupart es auteurs pour Ia Guitare. Pur consequent on so servira da Ik suite es sigoes suivans poar Ié doigter. DE LA MAIN GAUCHE. © conde vide. 1, index. 2, sium. 3, annalair, DE LA MAIN DROITE. index. mélim. ,, anmulaire. x powee, Des Positions. Ty a aotant de postions qu'il y & de touches sur le mauehe : Cent a premier doigt qui détermine la position dans laquelle on se trouve. Aivat Torque le ler doigt sera plicé & la Ire ease oe aera i ls tre pos ‘quand il avancera Ig 2me caro on sera A la Zine position, et site GAMME ENSEIGNANT LES NOTES, DANS LETENDUE DE LA tne POSITION [Les chifresplacés sures notes indiquent lex doigts de lamin gaucho et Les cases oa touches of i faut les poser. Les cordes 3 vide ont indiquées par ua 0, le ler doige ot ln Ire case par 1, le 2me doigt et Ia 2mo case par 2, le Sme doigt et Ia me care par 8, ot le Amo doigt et In me ease par 4. Les doigis do Ta main droite avec leagues il faut pincer, sout indiqude par ls signes x pour, «index, «. médium, et «.. annulaire. ae {aon the Bil does aot slways apply, asthe figures are intended ouly fr Uhe Angers af the lefs band, bat it will apply tothe aataral sale above, sept V4 CARCASSI'S INSTRUCTIONS FOR THE GUITAR. Gases, Pour apprendre d lie les aot ave len Ditses. yaa se ‘ist String Set [ [fs Tsar | re Conde, Gamer wir Far, ss re ro ian | hte |e eg ee are Times Jute. ure. [inte | a = PPTs . ‘xnncise with Sharps and Flats, el te Fs TIME LESSONS. 16 CARCASSI’S INSTRUCTIONS FOR THE GUITAR. Of the Chords, ‘Tue union of two or more notes played simoltancoosly is called » omonp. If the chord to be played is composed of three notes, no matter on hich atrings, they are 10 be played with the thomb, Ist and 2 fingers; if componed of four notes, the 3d finger must be added; if of five or six notes, the thumb must play the two or three lowest notes by sliding from ‘one etring to the other, and the Gagers take the threo other strings. ‘That all the notes of « chord may sound well it it mecesoary that the fingers of the left hand aboald be eurved to act ns hammers, be prose on the strings none the frets, and without affecting the vibration of the ‘cher strings the ingore of the right haud should be placod agains: the sazings intended to be atruck. and not to be moved but to put the strings 4m motion, Chords are always divided, or played in Arpeggion : thus the wots ‘ace played one after the other, from the lowent to the highest, but su: dently quick to produce the efect of their buing ruck together arias, Chord with 8 Notes, Effet A Notes, oct aes, a4 Noten “Eee, a stow ovements the chords are played, or arpoggioed lowly, in character with the movement, which ls often indicated by this sgn J or ( tod which ia placed before the chord In quick movements, which sre to be played wich energy, and require mach sound from the Guitar, the sez signin used to indinto that tho thamb must be slid rapidly and with force acrons the strings which form the chord. ‘The Barrer ‘The Barrer in made by preming the lat Goger oa two or more strings, om the maine fet. ‘There are two Barrers the Great and the Small. To the anal Barrer, the first Gager stops but two or three atrings 4a the great Barrer the frst finger atops the whole of tho six strings. ‘To do the great barrer with ease, it in necessary to raise the wrist, and se place the thumb entirely behind the Neck. Snail Barre eu Barre 5 Notes, 25 Notes, Des Accords, a rhanion de plasioars notes que Yon fait eotendre simaltan¢mant sappalle accord ‘Si accord qu'on veut exécuter ext compost de tris note, quelles que toient les corden sar lesqulles il wexéouts. on le pince avec le powen, index et le médinm ; wil ort do quatre nots, on ajoateFannelare Fi et de cing on ix notes Te poace pinco en glistant len deux ow trait ‘notes bases, e Tes autres digi pioent Ios trois nares corde, ‘Pour que toutes les rotes d'an accord réonnent ben it frat que lee oigt de In main gauche, courbés en forme de marteauxy present Je codes prés des touches et qu'lsn'empehent pas la vibration den tres cores; puis on placera les doigts do Ia min. droite contre lex cons | xin i pints eon ne reir qu pone metre ces cde ‘0 oscillation. ‘Les accords s font toajnre an pon bis ou arpagés: c'est on pingant Jer notes les unen aprén los antes, mais aveo aster do vitome | pour ques prodisent le mime Bet que tele taint inet ox | mde toms. Exeurus Elect eG Note Bifct = = saree, Phe te, ee | Summer as freer sgeee eine pyar antes creme ei or men Barré. Barrer, c'est appuyer le premier doigt sur plsicure condos & la mime ‘Dans le petit barré le premier doigt ne barre que deux ou trie ourdos. Dans le grand barré le premier doigt barre dane toute es longuou? touien lee cordes Pour faire fucilement le grand barr il fat heuawer le poigues ot porter | Thy» aa Bae grad pt | gore tn ari mac Crest Bacrer, rand Barr. 17 CARCASSI'S INSTRUCTIONS FOR THE GUITAR. OF Arpeggion. ‘An Anrzacio is a number of notes played successively in uniform fender, and which, when united, form chord Arpoggios are used on the Guitar because they prodace an agreeable dfocton the instrument, and as staies, they give strength and agility to the fingers of the right hand. To execato the Arpoggio wel, before making the strings vibrato the Singers of the left hand should be placed st once on the notes forming the chord on which the arpeggio is to be played ; end when the last note of the arpeggio ia struck, the fngore should be raised to pass tothe next chord, ‘This rule is indispensable; {the ogers wore 10 quit the notes a8 s00n us they are struck, th vibra ton of the entire chord would bo obstructed; of which each note is an ‘evential part. The fingers ofthe right hand should not touch the strings, tot to make them vibrates with exception of the thumb, as described ‘mn page 1. ARPEGGIOS WITH THREE AND FOUR FINGERS. ‘These Arpeggioe are given for the purpose of exercising the Hight ‘hand, sod to establish general rales, which will serve to show the fnyer- | tag of that hand in all similar pasages. ‘Each Arpegiio ought to be repeated several times in suoceasion, ‘The chords writton at Arpegzio are derived. top at6 thse from which the BP foi Des Arpéges ou Batteries. (On appelle arpges ou batteries, un nombre de noter pincees aucame: fvement dane on ordre uniform, t qui réunies, frment dex accord. Sar la Guitare lee arpiges sont tvs waits pareeqe'lsproduisent an eet nigréable ot particulier & Tinstrament, comme étude, ile donnent de la foroe ot de Pagilité aux doigts de In main droite ‘Pour bien exéeutor les arpages, il fant avant de pineer les cordes, que Jes doigts dela main gauche soiont posts simoltanément sur ler notes formant T'aceord sur lequel on arpége: et lorsque la demire note de Varpige a Fé feapod. on love les doigts pour pater 4 un autre accord, Cte riglo est de rigucur i le doigtaquituient les notes au fur et | mesure qu’on les pince, on empécherait In risonnance compléte de accord dont chaque note isolée forme une partie esseniell. Les doigte de la main droite ne doivent toucher les codes 496 pom les mettre en vibration, & Pexoeption du pouce; voyer la page 1. ARPEGES A TROIS ET A QUATRE DOIGTS (Ces arpges sont éerits dans le bat dexercer le main droite, et ta ‘blir ea wbgles générales qui serviront &fxie distinyuer le doigter de entte xin dans tout es pasages analogues Chacan de evs arpiges dot tre eépété plusiours fois de auite Amst Peléve commencers 4 en exceuter plusieurs cosramment il pourra entre prendee Métude des huit arpeges de Te page 19 sans copendast abandon ner Pétude de oeux-c TLes acronla derita en tte ont servi & former les ‘ai en décivent. deux arpigee 4 To facilitate the study of the eight following Arpegxios, sete migeanisaede ant th onof the eft hands] have written onan up per : Criewre dans Te stave over each bar, the chord which isto be pled. Arpe aswritten on the stave below. The pupil willsee at a gla the chord eomposingthe Arpeggrio,and on whic fingers are to be placed, The dotted Tines from one chord tothe other, serve to show thatthe fingeringof these notes hasnot changed, a that the fingers which press them must remain unmoved. 2 | enarpige Ievarpiges.Jéleve sara deol notes the | sont lesaccords tiles eonsposent et sur lesquelsil fait poser glits param seul mouvement. Les points qui Tient Tes accord alinitre servent nigger que Te doightéds ces notes ita point chiang dans 'accord suivant: les doizh tse Ies pressent doivent rester immobiles. a4 Phe Pupil ie advised to practise 54500 hu No®. ‘ith D Major Re, itareanhe played in all keys, but, likeall other witeit hassoniekeye mone fisorateto it thanothe Thosewhichare most avitable, are Cs majoreG.msajor: Dy oagorand minor: Amajorand minors. Es majoran minors and F, major. ‘The other keys are difficulties they re ‘quretoo often theuseof the Barrer, Thavetherfurephiet inthefira part of thiawork, the Gants, Cadences and ENer- cies only inthowe keys most ine, As Tthink it important, however; tobe aeqeinted with alt the keysand thatthey ahould he practioed,Thave placed in thesecond part of thismethedallthat Fhavethowsht ne ary forthis purpose, 5a5e | I; Ta Guitineprtjouerdanstous lex tomsmaiscomme as Tes instrumentsellea sestonsfivoria, Cen qui lui covien- nent le mien, ont Ut mvajeds Sol majeur Re majeuse minenr, La majeuret mines Mi majeuret mineus et Fa ma- res sont difficiles parce Is necessitent Teynploitrop, Barve: rssijenvai note dans la Inepartie de evt queles Gannmes, Cadences:Everciceset morceau rogressifs dansles tons les pl Cepenant cammeje pense: tous Tes tons et de frequent. ‘lest importante connaitre ‘yeveroor Jui placedanslame partie de cette Methode tout ce que Yai ert necesaire pourartiver’ ee vsutat 23 EXAMPLES OF RiGhT HAND FINGERING. JACOBS, EXERCISES FOR DAILY PRACTICE. 25 ON THE G STRING. WALTER JACOBS. “Myon, Make the bass come out strong and distinet. Do not jar the vass notes. “1 ‘Moderato, bes rR no. Ge ¢ El : uae 26 Gamuts, Cadences, Exercises and Preludes. To facilitate the exveution of the gannt.itis necessary that ‘the fingers of the eft hand should bv held sufficiently separ — ated and so placed, that they may he put on,and taken off the strings, without moving the hand. A finger which is plieed ca a note should not be moved but to finger the note following, unless this note Shinde ant «jem string. Th Grmuts ascending, when passing from one note to nother the finger must not he raised too quickly from the string, est it vibrate if Teft open too soon, Th the Prvludes: and Little Pivens following, exre be taken to sustain the notes as well as in the Bass, fn she th, ‘er parts, this eaution is meeessary in order to obtaiva full and harmonious style Key of C major. Gammes,Cadences, Exercises et Preludes. Pour faeiliter Vexeention des Ganumes,il faut que les doigts: rinse places de ma unais bver be doit plac sur me noteyguen dig tant haute suivant moins que entte nate me se Fase vide ans bs gananes montiates,orsquon passe dime corde ane str fn trop vivenwat Ie doigt dela corde ‘qed quits afin vier la vbeaton de ent env a vide ans los Pavludes ot Ios prtits morenax suivants on aura iva observer De enue des notes taut & Ie basse quar ‘arws parties; condition est nierssaire pour obtenir un jen plein et harmonieux. En Ton dUt Majeur. JACOBS, WALTZ SONG. COURT MELODY. GSE Seat itd g rn ae AYR wITH ACCOMPANIMENT. — —— Potenpo. mst 79 28 CARULLL sass 29 JACOBS. : Pee aude, iene veg pete EE = ne oa c aes Pt rae ue =a SRE ars a a [fp ae ey re SSH tg : a J pts. = a wer Baas ae : a Pi sah ie are ; atte Z Key of @ Major. En Ton de Sol Majeur. at Cadence. Andantino. 33 CARULLI. a Key of D Major. ‘To fucilitate the fingering in the Gamut of D majon it necessary to advance the left hand to the second fret. En Ton de Re Majeur. Pour faciliterte doigté dans laGamae du ton de Re majeur il faut avancerla main gavel & Ia deusinte touche. Gamat. Exercise: oe gi ANOTE, The pinst finger should be placed of ence On both the FE and ol ~alzo onthe OB and Prelude. 2 1 | When two notes which are to be played or thesamest ineet.the upper note must be taken as tstal, and thelower on the nest string below ‘The Daw the seeond string, the B on the third atringon the fourth fret. ‘TheG on the Ist string,the Eonthe 2d string con the 5th fret, 3 ting) Toragufon trouve dents notes ensemble qui toutesdeuae Aoigtent surta méme corde,on fait laphus haute &saplace ordinairet la plushaszeonla doigte urta conte suivante, On faitle Reaur la 2me cordeyetle Si aurla Sime corde a ladme case. On fait le Sol aurla chanterellevet leWD suka me corde a la5ine cae. a LE CARULLI, ‘| es 55 F eee FRG spe. wit err Ht wu! 4 D. AGUADO. tit a 36 Waltz. Andante Grazioso.: ; 37 Key of A Major. En Ton de La Majeur. ay sane aa ek tia 98 “Gamot. fet Saat il Salt | harver. Cadencey Petit lant % F Exercise.4 t ib Lb 39 CARTTLL Waltz Rondo. $2343 f Allegretto. Keyof FMajor. En Tonde Fa Majeur. aa Key of A Minor. En Yon de La Mineur. 1 Cadenceg Exereis EE SS = Pell: 6 fe = 7 x Andante; Sasa Key e E pee or. aoe de Mi Minewr. Gamut. ~ ¢= oe Key of D Minor. En Ton de Ré Minear. a” SELECTIONS and EXERCISES For further practice in the First Position. CaRULEI RONDO | =bd-e-r4--— 53 deipisdidss fips st og ES eb Fre =e rp ye] + vf ~ EET HOME; HOME SW = & & Arr, by WALTE any 28 THE CARNIVAL OF VENICE. Arr by WALTER JACOBS. » i \ Fe a 58 ‘The thumbcmelody) notes should be brought out distinetly-the others. played smoothly and lighter. Allegro. Tr CARCASSI. ; = (an) pos + (PRR SS ee 1 ' le 7 "ety ‘lrg a Le eee. 5AThe greatest care should he taken,in practicing this exercise, to sustain each note according to its time-value, Moderato. © Major CARCASSI. Guitar nusie alm SECOND PART. SECONDE OF the Shor, ‘Two or more, Notes played successivelyof whieh only the First is made ta silsrate by the right hancdand theothershythe nwre pressure of the fingers of the left handare called slurnel Slurs are performed hoth in rising and in deseending. To ex. coute lites of twos notesin rising ced,ani the finger ofthe left hand descends like a hammer and witha good deal of fore the lower note istabe play, upon the higher note, whieh must sound from the mere impulse of this finger. In descending, the higher note is played, and drawn finger which pressed ita Tittle fo one side,so asto tottchthe string a litilesthe lower nate is made to sound. Tf the Tatter note is mot an open string, it must he prepared before the Vighernote is made to vibrate, ‘The slur is indicated hy this sign ——placed over the notes which are to be slurred. SLURS OF TWO NOTES RISING AND DESCENDIAG Phy tl E aad place the first finger on Fe ince le ME et appnyen fe tor datgt sur Te Ba, Viay the Rand anaw back the finger to sound the B. Vinees le Patt yetivex le dolgt por Fairy enfendre le PARTIE, Des notes coulées et lives. On appell notes coulis dea ot plusieurs yates fates 0 ceessivement,dant I premiére seulmientest aise en vibration par lamain droiteset es autres par Ta seule pression des Aisi de Fa main ga Tes coulis se font.en montanteten descendant, Pour exe. cater des cones de dewrs nofes en mrontant, on pince Ia note geaveset om Taisse tomber le doigt de la main gaucheenforme de manteatet avec asser de force, sur]a notesisiengui doit résomer parla seu impulsion de ce dvigte En descendant on pincela note sigieet en retirantledoigt 4quila comprimaitjun pew terTa note grave, Sreenenote nese Fait pasa videsitfant quelle soit prepare ayant qvela note aigiie soit mise en vibration. decbté,de 9 igre & pincer | 1a cordesan fait résor The conle est indinue parce signe —~plocd sur fs notes qwon doit corer. COULES DE DEUX NOTES EN MONTANT ET EN DESCENDANT. 5 se & E (SESS Play the Band place the ad on @. | . 56S ——— SS Biases a SE Pay He @ an diay bask the fingerto incre te Neet tetnen Te deigt pnt fa athe Fe ntendee lo By gre ‘There are also slurs of two notes,in deseunding, ontwo dif. feront strinssywhich are calle “Vibration Slursi? To perform them, play the higher note.which in this ease is almost always, open then strike hard with the finger of theJ-St hand thenate which is to be slarred,and which will be sounded by themere impulse of the finger, On fait aussi des coudés de deary notes.en descendants «te cones différemtes.quion appelle coules par vibration. Tour les eveeuter on pinee Ia note aigiie,quidansce eesest pevsqae toujours & vide, puis Yon Frappe fortement ave easy de La main gauche ta note devant étre coulée, et qui résonnera parla seule impulsion de ce doit, 58 In rising, thw effect of the sluris also produced by stiding the | En montant on produit aussi Veffet du eouléen glissaie Tras of ee Ie pow case the first faut attaquer la premiére note un pet fortet glisser Te hand from one string to the others in this ite must he struck rather bara ana the than slide with delicacy over the next string, pouce avec delicatesse surla conte voisine, Phe anu strike the al finger on he Pino, le MU frapper, le Be gerne ey 2 Viration, =A vow be i det reat ae Bae eee All gee ee + ee = 59 Stury of.three or four notes are made inthe same manner | Las coulés de tros ou quatre notes se font parle meme mye as those of two notessy setting the first ote in vibration with | enque cous de deus notes en mttant 29 eration fn premiere the right hand, and lasing on or withdrawingsacconting asthe | notrarecle main droiteet en appuyantout enretirant succes: slur is ascending or descending.as many fingers of the left | sivement,selon qiiele conld est aeeendant ou descendant,autant hand as there are notes to he slurred. Aedvigts de la main gauche quily a denotes & couler. En descendant i fant torgjonrs préparetes notes quan doit com Ter exeepte celles quis font & vides Slurs of ‘Three Notes. | Coules De Trois Notes. Phy sek aad (tien place encerssiely the first finger npon the Ban the thin apom the romp, = Pincer le Mi et appuyer suecescicement Te ter-datgt suele Feet ae sare Sole ta the mad asomtly rome the grin prone tm | Pince oS et ele ereenment es ut om fee Wand the E Feet eM, = oe == Sd Slars of For Example. a7t ee (SSS Ses 7 += Sealestog, ay he exeented in slurred notes. ascending aussi exeeuter des games en notes coulfestan cov descending, by a mere slidine of the thu imontant quien descendant, d'un seul trait, In this sea igs to vibrating, with | Dans cette ganime, on met lt corde & vide en vibration avee le potce en Te glissant de corde en corde. In this last you play the firstenotes and slur all the rest. | Dans celleci on pince la tre. moie et Von coute tout le reste sim ‘hea : in Double notes are slurredaalso, but only two By twos {On coule anesilen doubles notes: mais seulement de 1 dens en deus. sis 60 ‘The Slidejar Glide. Du sonGlisse ou Porte The Slideis perfanned by onefingeroftheteR handhich| Le songliss# ou porte,seNzoute parun seuldoigt ae la slidesalinatheweckin passinguverallthe frets fromthe It | main gauchequi glisse fe Honglu mancheen passant sur tothe after having struck withthe right hantthe | toutes les touches delaprémere & Ledeuxitme notesaprés Firstufthe two notes, Theslideprnteces agvotetfecton | avoir attaque la prémieredes dew notesarecla the gritic,heewve it imitates thesumtof the voice.Ltis | Legtiss® produit un bon elfet sur la Guitareparce indicated by this signe or — Teson portedelavoix. droite T sindique parce signe => + gtiteche 2a finger from FB 194 lide the 34 finger from Dto B Zo i“ 2S ~ Zui) ea eS epee Se Glisserle 2eduigh du Pan Lae Glisserlesevdoigtdw Rau Ni Slides are also peofor Lin double notes On fait aussi des glissts en doubles notes he ap ££ hoe — Swall Notes oF Appoggiatura, Des petites notes ou Appoggiatures, ventoa.snalluotewhichsometinesisof | On dome cenom &une petite notequi souvent prend La fralfthevalue of the note which it precedes, Inthiscaseit | moititdelavaleurdela note quelle preesde Dans ce cas, isthe long Apposmiaturaantihenit has but avery short | Cest Vapporgiature longue, etquand elle raquune trés durion tisealled theshort Appoggiatura, courtedurdeon | appelle appexgiature breve. ‘To distinguish the short fromthe long Appossiaturathe | Pourdéstisguer 'appogmiatitre breve dela lougue on Perit, for neriseroscatse the end. Thesimalluitesare piyed the | parune cmchecoupee dime linge transversale, Les petites Sune asshteeaiving an impulse to the siiallnote withthe] ‘notes sesecut endounantFimpulsion rigit hantand makingthe principal notesoundwiththe fin| delamaindroite 2lapetite noteveten faisant résonnerla gerof thelefthand. note principale avecledoigt de Ja maia gauche. Lorsqutme When acommon noteprecedal hy a snnallaote,isacconpa) note ordinaire,préckive dune petitenote,est accompasnte Thisnameis ni yone or morepartsthe small note must beplayed | diine ou plusiettrs patiesi fant pincerta ptitenote aver withthe aceompanying partsantthe prinejal note he | les parties daccompagnement et couler nmediatement, Blurred iniedtely- 1s ote principales Tong sa notes. Sport smatteetes. eteagtes yes een nates breveng vet eer = art Small wotestobe playi with the votes of Accompaniments Prtites nites fraypant areowstes accompagnenent, Written. Played. aL Double Small Notes.or Appoggiaturas, Petites Notes Double, ‘Too Appoggiaturas are e\ecuted inthe same man | Les ytitesnotes doubles @secut@ntyar le meme ner 4s two principal notes slurredonlywith more | arovencimescouléscie deux nates! mais avec Plus de rapidity, since the lalter receive their Full valuesshere=| yitesse paremu?on donne aux notes coulzes toute la va lene asthe small notes borrow somewhat from the duration] qu’elles representent tandis que les petites notes ese, of the principal notes « coutentquinuts déproade Je nate des noges prine pales Indication, Execution, SHORT PIECES FOR TIE PRACTICE OF APPU- | PETITS MORCEAUX POUR EXERCE R LES PETT -GGIATURAS, TES NOTES. 62 OF the Gruppetto. Do Grouppetto. This is the nanw of a group of appoggiatira nutessconiposel] Qn somme ainsi mm groupe de petites notes composé de ‘af the peiverpal note amit its au ry noleinmediately above | note principals et de Traian supérine ot infiiaue. TL est and below: At i indivated ad performed in thew ways indi et sient de teas mane L.By begining with the primipal note, Ate) 2) | To. En commenrant par la note principale ave une petite 2. By binning with the auviiary shows, B Ceo.) note, Mees.) 3. By beginning with the auviliary below, C1 %.) | 20. Par Vaurviliaire supé Blew.) ilnire infévieure, © (0) "Tis is called inverted in most treatisessand indicated ( 2) | 80. Par b aoe 22, Indication. ee _ ye rappel ain | tieprtncipst not Genet corer gt par a iavivatee ae ing wich Exceution. Ua little noteof the gruppetto is to he altered bva Sharp | Si tme-peite note du gronpprta devait ene altérnee par tne or Flatyit is thics indicated for the auyiliary abose! and this | digéve o hémol,on Vindique ainsi pour Vaurviliaive superioure (et pour Pausilinine infe e ansiliary below ry (DP Indication. = I With the ay | Execution, “When the Grappeito sintds hetteren two principal notesit is | Quand le grouppetto se trouve placé entre deus notes en Ta always commenced with the upper ausiliary, ~ = =p Indication. CFE # im fre Execution, IQ Pes commence tonjours par Tauyilianestrpériemees ase 63 Of the Trill. Du Trille on Cadence. The Trilliswhereanvte alternates, foralonger: oF | Le Trilleest une note oui selow a valeur, alter pluse ou shorter time, accontingto its Value, and very rapidlyswit h, [moins longtemayettéavite, avectneautve vote quiise {rouse the nute which isa toneor halfa toneabove it, and which is| umn ton,cttun denti-ton plus bittt et quron termi the ausiliary note. The Trill should generally beginiates Le tville doit generale and with the priveipatvotes Every Tell sho pale, et fi terminations thister ination consists of the tone or semi. ‘une termiinaisons cette te tone below; flawed by the principal note (Sev following |emi.ton infer Exawyles.) lexeriptes s tontme noteauil nt commencer parlantate avec ell Chague trille doitrecesoir isoneonsiste dans un tonow suivi de La nore principale, (Voyez les (Os. UieGuitar the Trill is made in three wags? Surla Guitareon fait le trillede trois manitres: 1, By snapping the firstnote, andslurringtherestof | 1o. En pingant la premiére note et en coulant lereste diy the Trill ville. 2. By stapping the principal, and slaving the ausitia- | 2. En pingantla note principale et en content In vote ain. rynote, re 3.By taking the tho notes upon two differentsirmgswith}3o, En prbparant les dears notes sur deux cordes differ theleft hana, and snapping them with twoor three fingers. fentes avec la main gauche, eter lex pingant avecdeus ou {trois doigt « eiiwaier Here, Wimanners svemanitres ie Indication| Termiition, ___ Pnfaatson, (a Execution Fingering ofthe Right hands On bedaigge avve la main droite. When the short duration of the noteon whieh theTrill| Lorsque Ia courteduréede la note sur laquelleon fait ismade, or when the following note preventsa termina - |le trille,ow Ia note suivanteumpeehe de faire une terminai- Longer TiN, but Usually written trillees Signes ite, tion, itis anotetrilled. — | so ce west plus alors up srillgmeissienplement unenote Indic 1 S58 ee OF the Mordente, Du Mordente, wnt dutrille, Hse fait sur des a beleffet sur ces ‘This ormament isa fragment of atvll. This made uponlong| Cet ornement vicutaely fine effeet upon the lat notes long aa\ tC ite Mordente neue notin { Andantino. 6 #9—— Maffled Tones. \ Sons Btouffes. ‘To dump oF smother the sounds, you have onlyto place the | Pourdtouffer les sons,il suffit de poser les doigts dela main fingers of the right hand upon the strings just snapped after | droite sur les cordes quis viennent de pincer, aprés le allowing them to vibrate during theirwritien values (which i é vibrer pendant La valeur qulles représentent qui oir ere a sixteenth.) Choris of five of of the right hand up. Sostennto, jeostas 5 ie reo " jak rt ee wu 7 aya ti Tr cords de cing ot six notes 'étouffentemposant tn yatt la main droite sur toutes les cordes, prés de la rosette, 2H SSE Positions. Positions. 65 Ther» are twelve positions on the finger-board ofa Guitars! Ty a dowre positions sure manche de la Guitare: parmies camong those there are five which are called principal positions) nombre y en cing qu’on nomme positions principales. par as they are most in use,anta knowledge of them insufficient to] cequ’+lles sont les plus usiteesvet que Tetreonmaissanen suffit get acquainted with the others. ‘pour donner Tintellignee des autres. Thaw . ‘The sty of the Gamut of the exercises andthe following | Leta des gammissevereicesset morceanr, suivants, evs ‘ieces in those different pisitions, will br sufficient farthis | différentes position purpose. sitions are the tst,athysth,zth audath. Ces positions somts Ia Tre,ame,smie.7 26 €¢ m ra pourareivers ce réultat, GAMUT TN THE FOURTH POSITION, GAMME 4 LA QUATRIEME POSITION. Gth String. Sth. aah a Gme Cordes Sie. ame, =a $4 66 Gamut ia the Fifth Position. | Gamme A La Cinquiéme Position, LE pte tio ge, —— Andantino mosso. in the Seventh Position. Gamme 4 la Septiéme Position, Behe sme aa ai. Sine, Ames Bm. 1h se Wie! Aegreto se ‘p 68 Gamut in the ninth Position, Gamme 4 la nenviéme Position, ae aS se ¢ —sil t| sll on Ty a des cas oit Ton profite dune note exéentée surimweeont ide pour passer pls facilement dune position a Tattrecetta note est indi ‘There are casts where we profit by a note played upon an open string, to pass with greater facility fram one position 10 anothe’this note is indicated by ae) which ig plaeed’over a Poseserngers MN Posey, ft Po ie par unle) queton place sur a note niéme notes Example, Saetines the fiest finger is drawn back one fretwithont the | Quelquefbis, dats ume positon te ler oighreeule on aiére | dune touche sans que pour cela,la main quite cette position. 120M y eal Foe F fies quatre morceau sivas sont ecrts por apprendce # parcourir les diffirentes postion, position of the hand heing altered on that account, “The four flloining pieces are writtenso That the pila’ { 0 through the differen postions, Sth Poss 5 Pets Poss se ng 7 Allegretto. oe stl Pose ei sth Piss ReBoetteee ee \ = watt 73 74 Of Double Notes. Des Douhles Notes. OntheGuitarthereare passages ofouhle notes 8h rv, on fates passa sisths.oetaves,ahl tents; to fiilitate their exces de doubles notes en pouren faciliter Texieu- Wit iS Hides, sites, octavenet dinih necessary to slide the fingers as much as possible, in passing tion il faut, autant que Possible glsser les doigtsen passant from one fret to atother jaune case a Tautre. Tuthese first exereises the fingers which are to slide are | Damsces preiniers exercices, les doigts quidorvent glisser 5 pur de Petits traits d’union entre leschiffres catethe fingering of the left band « pourindiquer fe doigth de la main gaehe. Gamut in Thirds. dnarked by sinall Lines placed between the numbersstoindi- {sont mari Gamme en Tires. 1s For further practice of the Intervals. THIRDS. Octaves. rag sal de. B eo or M, GIULIANI. . ' BLS, aL en tierees. snes nement qn effets In passages of thirds,sivths,and tenths: sometimes wefind an accompanying part which rests upona single eontinwon noteyand whichis putin to Feodutce an effect peeuliarto th On trouve quelquefots,avee des pa guitar, This part should always he executed upon an open | partic itare, Cette partie doit toujours ttre exect. wen if the other parts are highersw which ease they | te surune corde A vile quand mémeles autres Farties tr les cores im. lus aisties: dance dernier eason tes should be taken upon strings helow the open string. | naiatement inferieures 4 Ia corde i EXAMPLE. Sixths. J = sists, QE Tenths. Dixidines. iv if ‘ 4 wa setts st searpe oi 4 Cc rn RSH 82 Sustain the half notes well. Let the sixteenth notes be distinct and smooth. Slightly accent the first note on the &nd and Ath beats of each measure. caRCassI. aT sree 22am Sustain well the closed bass notes . Avoid breaking the time on the slurred ones. Also avoid snapping the... strings in making the slurs. Allegro. fi as 1 A Major. 6 CARCASSI. = I (aaa Thos oe sane sang, CAROASST. A-Major. a a ak 214) y etal : J= = (Grand Barre 13 fee Avoid breaking the time on the slurred notes. Allegretto. Aan CARCASST, “Gy EEE FIRE oe ia r 2 2u4 rs ' fea ae need! F-Mayor Atdante, oe, gH eS - y¥—)) | Goatrte alan tt tater ah ate mt EEE ia Saint apb iy 86 Scales,Cadences, Exercises,and Preludes, Gammes,Cadences,Exercises,et Préludes. in the Major and Minor Keys, which have not heen present-) dans Tes tons majenset miners qui vont point éte presentés ced in the Fiest Part, slans ly premiére Partie, Key of B Minor, sys, Scale. fe .,, Ton de Si Minenr, jie t ee tea, ce geyy A _ paoans trerin cS = tt | ¥ Fe, ¢ lon , ee 7. pie! Fat ae F r ? pos eS Prede. { ai pon Bem, stgon 28 | 14 — He ae 1 87 FAW har, eebare, 2 tos. a RS, eo ee goes. f % f Key of C2 Minor, Ton CUE Minenr, st Pos hE ooh ST be hte Seale. @ Sore E AdhThs2i Pose sh Poss Erber oy Cadence. 1 — oss o * T = A Pass 7 | é an ie Bed 7 ie | at Pas, Ast Pos, jesbneré 28 Pos, Prelude. sth Pos Ast Pose petabares ad Poss ensharné ih Poss rebar ¥ ah kebarne, BP atPos. sas8 st Pos, Exercise, = ae ez S00 Poss putt bars 4 Poss S01 Pose ers barr Ton de Fa? Majems o Servant aussi poureelui de Sol hémol majeuravee six Bémols, Ki Serving also forthatof Gamut. 6 7 m2 Poss ge barre 20Pis : 4 Cadence, ee Exercise. 90 a 41h Pos, £ pus Prelude. 6 *#" Key of D4 Minor. ‘Ton de Ré# Minear. a of Bb Major. Key of G Minor. 3170 yout met str Pre wi ‘Ton de Mid Majeur. Bb god Pm ppt eee nie Sy Ss sr Ge ru + 4 « 93, adPos, 14 Ph —— — Cadence. fet $e iS fae ee ee Keyof Ay Major Tondelab Majeur. tt Pos, Gamut- ee : Te thts sate 4chPe ni 1. 4. 1 ae | Cadence é z = || s Te wr 94 Ht Poe pertarne tle Posgeharre 4th Pos 4a Se" ye. ef] Prdude, F Key of F Minor. Gamut. be Gre . . I Key of Db Major. Ton De Reb Majear . \ Servingalsoforthatof C4Majorwith seven sharp/Servant aussi pour: idCt 4 majenravec sept dieses ze sq] nee ‘ tise oper t tas, ehh — Gamut. & TSE e SMPs 2s Ros ah P ow Cadence, é sas0 ast Ps Exercise. i ; poe 6 HS es 15t Pos petit h Gamat, Gx oe Ast Rs graye, Cadence, ELE = oe 1@ 96 Harmonics « Harmoniosae produced hy placing fingerof the felt bintacioss the stringsot the Guitar at certain divisions, i of the Fingerboard, | The finger must press lightly,yet with sufficient nal prevent thestring from vihrati | asifopens Assoontas the string has hoon sfewek with sufficient force near the Deilthe Fingermit he raken off. Hirnoniessound at the piteh written in the table Sons Harmoniques. On produit les song harmoniquesen posantun doigt de 1a main guichesur toutes les condos dela Guitare ade certiin divisions seulementsU faut que Tedoist poseTogerement ave wsseasde force pour empécheraconde ie isonneri Villy etonTevecedoigh aninitht apbaasnie gine’ lacordeun per fort pres du Chevaet. Lessons harmoniques rendent unenetave aut lessusdece qwils sont marques. [ssefont & la 12 mete, 3me,4me below . They are yeoducntat the Leth, 7th. 5th, Athand | et Swetow” -conmeledsmontre le tableau suivant. In fret thefilloingtae shows | tater. biker, sibs ane, acttne, Lem To he eh foecontee 24 Shin Br Cont fmTuche. anlString. ie sisting Be Come fehstringe fuente Exercise in Harmonies, The upper figtinspoint out the fre tsandthe lower ones the strings, #2 chiffres inferieurs les cordes. Evercice en sons Harmoniques. Leen chiffies suptrieursindiquentles toncheset Tes Z aes All the notes within the compasof the Guitar may be play- ed harmonically. ‘To do this the note which isto he played harmonically is fingered in the same manner as an ordinary notes then the point of the forefinger of the right han is placed atthe 2th fret distant from the note whichhefore taskeen fingered by the left hand,the thumb is then removed from the forefinger, which presses lightly on the string, and strikes cis string which will produce a harmonie sound. i2 On pent aussi exéeuter en sons harmoniques toutes ks notes a oF s creer ua v 7 : =) | * x ‘a y 3 Fm Be. gaat S | | | Lig an ls e th a a Se IFS i

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