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Through this method I hope to open the door to a new type of harmonic technique and hnowledl for the guitar. There has been a shormge of good constructional harmonic material that develops d
hand mechanically and increases the knowledge musically. All exercises presented in this volume have bec
carefully tested through years of teaching. Each one has a definite purpose for development of the hanr no metter how insignificant it may seem to the student.
The exercises are given in condensed form to save space and also to encourage and develop independer
thinking on the part of the student. They are written in one key but are to be played in alt the keyr
as shown in the explanations accompanying the exercises. Think of the tonic of every k.y as "do'
Therefore if you are in E flat, consider the E flat as "do". Through this system all keys are equal an
therefore you will not favor any particular key or keys. Some of the exercises in this method are writte
in whole notes with no dividing bar line but should be practiced at a slow even tempo. Succeeding volumr
are in preparation for publication in the near future.
GsoncE VaN Eps
GENERAL
INSTRUCTIONS
HOLDING THE GUITAR
Holding the guitar correctly is a point that should be studied very carefully because there are man': irnportant factors to be considered, the first of which is comfort. It is almost impossible to work freely i
you are trying to support or hang on to the guitar with your hands. The normal technicalities of the
in-strument are dificult and tiring
enough without an awkward posture to make them more rc. Flere is the correct posture. Sit in ? straight-back chair of medium height and then cross the left leg over the right so that your left knee rests on your right knee at the seme time keeping your right foot flat on the floor. Then place the body of the guitar on your lap so that the lower hollow 6ts the left leg and the upper hollow rests against the right side of your chest. The body of the guitar should be on an angle of approximately twenty degrees in relation to your torso and the scroll should be on a
level with your shoulder, but slightly forward. Never lean back in the chair, lean slightly forward alway as this helps to hold the instrument securely. After following these instructions the guitar should balanr on your lap by itself. (Fig.No. 1.)
-IHE PICK AND WruST ACTION
Bring the right arm up until the elbow r$rs very lightly on the top edgc of the body. Thc cnd of your hend should now be half way between the bridge and the end of the fingerboard. TbG inside of the wrist should be approximately two inches above the string level. Fold the fingers of t{re right hand under, but not rc far as to have them touch the palm of the hand. For example, wrep tJrc fingers of the right hend eround a broom handle, bending tfie fingers from the firct and second joint. After doing this remove the hendle and noticc the position of the fingers. The result should bc the correct cutre. (Fig. No. (2.)
Now plrce the pick on the f,,rst joint of the 6rst finger rc that the horizonal axis is perdlel to tlrc back of your hand. Then plece tfie end of your thumb (approximatcly l/+ nch) on the pick so thet tkre is a half inch of the pointed end showing. Do not hold the pick, too tightly .r it must be allowcd to occillatc rather than bcnd. In a complete wrist action the wrist imitates a twisting motion with each stroke, vcry much like flicking something off your hand. Sce that you use a quick and accurate stroke, eliminating
dl excess movement because you want the notes to sound simultaneously, not one by one. Vhen pleying
on inside strings use the next highest string as a pick-stop. The axis of your wrist should be directly ovcr the highest note as the top note should predominate. In other words if you are picking the B, D, and G rtrings as a triad, the axis should be over the B string with the result that the D string will sound sofdn thc G string r litde louder, and the B string will be the loudest, w.hich is dynamically correct.
-THE LEFT HAND
In studying this bootr it is necesary to bear the following frctors in mind as they will not be mcntiono in the explanetions of the exercises. The fundamentals do not change in rhe difrercnt excrcises, but th situatioru do. There is only one correct way to place the fngers on the fngerborrd. Drop your left hm dovn alongside your body entirely relaxed. Now bring it up slowly leaving the fngers curved (slowl twisting it counter-clockwise) until your ttrumb touches the neck halfway between the body and t*re nut The thumb must ride rpproximately one-third of the way around thd neck from the bess side. Neve Iet your thumb extend above the fingerboard level, and never let it travel more than halfway around th curve of the neck. Your knuckles should be almost parallel to the side of the neck. Now plece you fingers on the fingerboard in an arched position, not trying to finger anything, just letting them rest rheft Slide your hand slowly up the neck toward the body. Vhen your hand touches the body of the instrumen your elbow should be next to your torso. Now slide along the neck slowly with your elbow traveling r just half the speed of your hand. This principle is similar to the hour and minute hand of a clock. I this is properly applied you will notice the position of the hand will change very lirtle in relation to th, neck. This is of Sreet importance in the development of mechanical perfection.
The fingers must be arched until just the tips rest on the strings so that they work .tp and down ham, mer-frshion seating just back of the frets, not in between and not on top. Bend your left thumb back slightly so that only the ball or fleshy part touches the neck. Do not hug the neck wirh the inner part of the hand. It is necessary to k*p the
fingers suspended over the
6nger-board at all times. Do not let them stand up straight, curl under thc fngerboard, or wander in any fash-ion. The correct place is approxi-mately one-half inch above the strings for in this position they ere always ready to operate. This grcatly improves rccurecy of the fingers. Here is a practical example of this principle. If you suspend en object above a designeted spot and dropped it, wouldn't your accuracy be far greater than if you stood a few fer awey and threw the obfect at the spot? The wrisr musr be kept straight at all times excepr whcn executin a very long reech. Your hand is like a piece of machinery which can develop mechanical trouble if thrown int odd positions. Those little push-rods in the baclc of the hand that operate the fingers must have a straig[
course if expected to work properly. Besides being correct, the straight-wrist posture is more comfort
able and nrtural when you ger used to ir. (Fig. No. j.) 1
-It is important to remember that the exercises in this book should be practiced very legato. In order
to do so, the notes must be given their full value and must be connected with no pause between them. The
changes from formation to formation must be executed in the least amount qf time. Do not stint the value
of the notes in order to give yougs3:lf tirne to make the next formation. In making these quick shifts, do
not rush the tempo. Plant your fingers solidly and firmly on the fingerboard. After releasing the pressure
on a formation get used to forming the next position while the hand is in motion. Do not wait until the
hand arrives at the location before forming the fingers. This saves time and naturally goes hand in hand with
the legato principle.
The reason legato is being stressed so much is because it is the hardest form of phrasing for the guitar.
Stacatto, the reverse, is the natural form and therefore the easiest one. In practicing legato remember to
re-apply the pressure for each formation. Do not slide around holding the pressure, yet do not to to the
extreme by lifting the fingers too far off the strings during the change. Eliminate all waste motion with the fingers. The closer they are to the fingerboard, the less time it takes to place them. The mechanics
of these exercises have been carefully planned and tested.
THE ATTACK AND Dffi
A clean smooth technique depends upon a good 6rm attack which is accomplished only when both
hands work in perfect unison. To fret a note or chord before picking it produces a poor tone and limits
the speed of the hand. In the correct attack the pressure is applied the instant the pick strikes the string.
Always aPPly the pressure quickly with a deliberate snap, like a trigger releasing a srrong spring. In the
exit of a note or chord, the pressure rnust be released as quickly as it was applied because a slow release
pro-duces a bad buzzing sound, especially when working on the lower strings. The pressure release rnust be straight up off the fingerboard and not slanting in the direction of the next position, otherwise a slurring effect will be the result.
-EXPLANATION
OF THE STRING CHART
In this method rhe strings rre listed in groups, or sets (see the chart), and for each set there is a symbol,
eirher numerical, alphabetical, or both. This system has to be used because of the many different locations
to plry rhe srme notations. For example, the C major triad with the first finger on the second fret of the B string, the open G string, and the second finger on the second fret of the D string, can be played in three
different positions irsing the same voicing. In exercises where the second half is fingered in reverse of the
of the first, markings will apperr only in the first half. Set, pick, and finger markings remain good until
chrnged. Some of the exercises hrve no merkings, but are referred back to previous exercises for the
fing-erings.
FINGERBOARD
CHART
Showing the different sets of strings rnd their symbols.
The x's designate the strings used in each set.
l s t s e t o f 3 ( l 1 3 ) 2 n d s e t o f I ( 2 l t ) l r d s e t o f t ( l l t ) 4th set of 3 (4!3) l s t s e t o f 4 ( l l 4 ) 2nd ser of. + (214) t r d s e t o f 4 ( t l 4 ) lst set of broken t (llBl) 2nd set of broken I (2lBl) lrd set of broken I (3Blr) broken lst set of 3 (Blil) broken 2nd set of I (B2 i3 ) broken 3rd set of t (B3lt)
Ist set of broken 4 (llB4) 2nd set of broken 4 (2184) lst set of broken 2 (llB2) 2nd set of broken 2 (Z!BZ) 3rd set of broken 2 (llBZ) 4rh set of broken 2 (4182) ( A l l )
( A l 2 )
( A l r )
V I V r y I I I I I 6-WARNINGS
Remember to treat all the exercises, wntten and referred to, as seperate studies. Do not skip over any
of them because you will only have to come back to them later on, which is not the desired course. Another
important point is che fact that learning and pracdcing a study are two different things. Vhen learning an exercise you are teaching the fngers their respective locations. After that time you srarr pracdcing to perfect what you have lerrned, which is the real prrctice. You.derive the most benef t from rn exercise n'hen you can practice it for ten or fifteen minutes withour a break and with cornpararively few errors.
A mismke is a bad habit becruse it makes you corxtcious of that particular place *i,.r."., it may have
oc-cured. It is natural to conccntrate your efforts on that one place and by doing so, mistakes may be made
in other places. To avoid this, practice an exercise very slowly for a long time. This gives you time to think
of all the poina thus establishing the foundation for a good, clean technique. This can only be had by practicing slowly and gradually increasing the tempo, at the slme time never practicing an excrcise faster than you can play it correctly.
To start with, your practice periods would be a half-hour in the morning and a half-hour in the afternoon' Increase to forty-five minutes after a month's time. Build your prectice time up so that after three months you are practicing in three forty-fve minute periods, and in 6ve month's tirne, in three one -hour periods per day. Never practice morc than an hour in one period, es thc mind becomes dull after that time and is no longer reccptive. Three hours a day of the right kind of pnctice is suficient, though more time will not hurt, providing you follow the rules just mentioned. After a concentreted hour of prac-tice your mind, as well as your fingsrs and hand, should be tired.
In order to obtain the best results, do not rush through this book. Take three exercises (forms) per week as regular lessoru. Each week take three more, while still pracricing the preceding exercises, erc. Keep building this way, never dropping an exercise, as you will need the technical as well as the musical lcnowledge contained in all these studies to have a retdy technique.
-7-WITH MAJOR CHORDS
See before EX. 48 EX. I
The first exercise is a harmonized major scale in triads using six di{ferent fingerings. The 6rst form il
on thesecond and first sets of three strings.(See notations hlow the staff.) The second form of Ex. I i:
played entirely on the second set of three strings. The third form is played on the second and 6rst ser ol
three strings but varies from the first form because the cross-over is on a different note of the scale. Tht
fourth forrn is on the third, second and first sets of three strings. The notation in all the forms of tht
first cxercise is the same but the fingerings are different in each one, and should be practiced as separat(
exercise.s. You will notice that the first four forms of Ex. I are long forms which cover quite a bit of tht
fingerboard. The fifth form is more condensed and the sixth form is the most condensed form of this
harmo-nieed scale. This first exercise is written in whole notes with no division of bars because the notes are of equa)
value and should be practiced very slowly. Ex. I and all im forms should be played in all the keys, madt
possible by the six different fingerings, as follows:
lst forrn-from 2nd form-from lrd form-from 4th form-from Ith form-frorn tith form-from
It is necessary to become familiar with all these forms
F O R M T
C . r p t o F
C .tp to C sharp (D if possible) C , r p t o F
A flat up to D flat (D if possible) A f l a t u p t o E
F sharp up to C sharp
as they will be referred to often.
FORM 3
-FORU T
EX. 2
Ex. No. 2 is t preparetory exercise. This form of picking is termed arpeggio picking. To get ac-quainted with this form'for the right hand, it is used on ollen strings so that you have to concentrltc only on trhe pick and wrist action. It should be developed to rcund even dynamically and steady rhythmically. To explain the pick and wrist action in Ex. 2 is dificult as we do not actually pick each string individually.
The pick passes over each string and accents it with a slight kick, which is more of a pulsadon. The reason
for this is thet rsing the pulsation principle you will be eblc to meintrin a steady tcmpo and you ryill not strihe two strings at oncc, as you might do if you were just forcibly pushing the pick across the strings. In other words it should have a smooth but deliberete effect. If and when you do strike two strings to-gether, you will know that you're not "pubating" properly, if at all. In the down strokcs, use the next highest string as r pick stop. In the up strohcs, you will not need a stop es the pick returns in in upward modon.
-9-Ex. I
This is tfie harmonized scde combined with the arpeggio picking and it should be practiced in six f,ngerings, the 6rst of which is shown in the exercise. The other five are to be found in the forms of Ex. l. Prectice all six forms as sepante exercises. You will notice that at the beginning of each measure you will
find a triad in parenthesis combining the notes in that meesure. This shows that it is a chord formation and
is not a single string fingering. Practice this exercise in all its forms slowly. Also make sure that the notes re of equal value, as the tendency is to skip over the last note in each meerure in order to ger to the next
position in time. Practice all these exercises as legato as possible, which will necessitate a quick accurare shifr
from one pcition to another.
E X . 4
In this cxercise the major scale (harmonized in common triads) is shown in sequence form, three
stepts up and return on the first triad, then, on the second triad, etc., ascending; the reverse, descendir'g. This is elso to be practiced using the five other fingerings as found in Ex. l, and in all the heys. Practice it very slowly and maintain an even tempo. Ex. 4 is to be practiced later on rsing the arpeggio picking.
-EX. t
Care musr be taken in maintaining an eyen tcmpo, as every other measure is in arpeggio picking and
the natural tendency is to hurry the whole nores. Count four beats for the firct measure iust as you
would for the second measure. Also practice in all the fingerings found in the Ex. l, and in all the lseys.
EX. 6
This exercise is similar to Ex. i, in the fact that it triad. The same principles are to be applicd.
is arpeggio piclcing combined with the whole note
EX. 7
This exercise develops judgemenr of distance with the left hand. Note that the gap between the first
and the second triad is an ocrave which when played in the long form is a long ju-P. Care should be taken
in makint sure that the fingers light surely and firmly. In the condensed form you do not have the
haz-ard of a long iu*p berween first and second triads, but crossing over the sets of strings to iump the
oc-tave presen6 a dilferent problem as this must be done cleanly. This is to be played in all six fingerings and in all the keys as found in Ex. l. Later employ arpeggio picking.
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-EX. 8
A rhphmic form of the scale. Vhen prrcticing bear in mind all thc previous exple'.etions end warn. ingF. Notc that thc scale goes through e rhythmic cycle, which is vcry finc practicc as the "hdf-time' providcs a breatfiing spcll bcfore the next burst of speed. To bc practicd in all the differdnt fingerings an<i Leys.
EX. e
Another sequence forrn of the harmonized scale-the reverse of Ex. 4. In the sevenrh measure o
this exercise, the second triad should be played not only with a Barre of the fourth finger as marked, bur
also with Barres of the third, second and first fingers alternately. In the last measure the second triac should be practiced using the third set of three strings and also the fourth set. Later employ arpeggic pickirig.
( also 3rd,2nd & tst fingcrs )
-t2-lt EL IO
This cxercise should be pncticed crrcfully as it is very confusing because of the finggrins chengin within itself. Practicc in dl L,eys. Later cmploy arpeggio piching.
EX. tl (Two forms)
To be practiced very slon'ly, paying strict attention to the medrings. Later employ arpeggio pictrin, FORU I
EX. 12 (Three forms)
This exercise is in two sharps because that is the lowest form of the harmonized scale on the guiter After all the forms have been perfected join them up with the harmonized scale an ocrave higher an, prectice without a break. You witl then be able to run two octaves in the harmonized scale. Later emplo, erpeggio picking.
FORU I
l 2
t-ElC lt (Two forrns)
The first form was espccially designed for strengthening is difficult in the high register and therefore good practice.
the third and fourt'h fingers. The recond form
EX. 14 (Three forms)
This exercise has a definirc purpose and should bepracticed very slowly and carefully. The upper (mc.
lodic) Iine is in half notes while the two lower voices are in whole notes. Make sure they sustain their fuli value. Practice all three forms equally as the purpose throughout this method is balanced rechnique.
FORU I
t 1
EX. lt (Two forms)
This is practically the same as Ex. 14, the difference being that in this exercise we modulate a half tonr
up and a half tone down at each two-bar phrase. Practice in all keys. Go from one key to another withour
a stoP. F O R U t6 FORM l5
-14-EX. 16 (Three forms)
This exercise must be pncticed very carefully as we introduce a new principle in the first two forms which is the "breaking" (or flattening from an arched position) of the 6rst joint of the fingere. In the first form at the second and third measuresr /ou flatten the fint joint of tfie second 6nger to produce
the added note, which brings this principle into the classification of a fifth 6nger. It is 1 very dificulr
maneuver because the finger that is doing the flattening must sustain another note during the process. In
the second form, in the firct and last mersures, the third finger does the flattening which is alrc vcry difi-cult. This flattening principle must be practiced methodically as it must be reliable rhythmicelly and should be done with a snap. Do not skip over this principle as it is very important. Prectice very slowly. The third form does not employ dris principle but should be practiced just as carefully.
l6
FORM 2
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to
FORIf, 3
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to
EX. lZ (Two forms)
This is the modulating form of Ex. 16. The same principles should be epplied, mating sure that thc point of modulation is clean and distinct. Do not slide the left hend in the modulation It shouldte a fast,
accunte change. The pressure should be releascd for just a fraction of a second during thc change. Precticc
in all keys. F O R U t 7 F O R U 2 213
b)
t,
t t-EJ(. 18 (Four forms)
This exercisc, a combination of cxerciscs 14 and 16, produces the major scele built on the tonic chord. Tlre two lowcr voiccs must sustain for their full veluc. This exercise should be precticcd in ell teys, which is made pcsible by the differenr fingerings.
FORU t
,J
t8 F O R U 2 FORU 3t8
FORM +t8
EX. re
A maior arpeggio study in triads which takes in all the consecurive sets of three strings. Practice a Iegato as possible, without slurring. Vatch the markings carefully as the fngerings ere constantly chang. ittg. To be played in ell keys, and later employint arpeggio picking.
l - I
EX. 20
A veriation of the major scale with the top voice in quarter notes and the bottom voices in wholr notes. Be very careful in this excrcise as the finger flattening principle will be doubly hard There arr no markings in this exercise because it should be practiced using the four different forms found in Ex. l g Practicc in ell keys.
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-16-EX. zt
This is a lower form of the rneior scale built on the tonic chord. It should be practiced up to tihc Ley of C.
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Ex.22
A variation of Ex. 21. Apply the same
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a
EX. 2l (Three forrns)
This major exercise was especially designed to strengtlren To be practiced in all
keys. FORU I 1 )
IJ
28 FORT 2IA
29
218n
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2 8E'x.24
A modulating form of Ex. 2t, in which the same principles are to be applied. forms found in that exercise.
Practice usint all the
4 u
EX. 2'
A variation of Ex. 24, to be practiced utilizing the fingering found in Ex. 23, jnst as you did in in Ex.24 above. roRu I \
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WITH MINOR CHORDS
EX. 26
Starting a harmonized minor scale study in six different forms. Pay close attention to the markings
in these forms as they are yery confusing and dificulc 'V'atch the movement of all the fingers closely.
Give this exercise the same treatment as Ex. l, such as arpeggio picking, erc. Practice in all keys.
l h * r [ e l * * r [ 8
-EX.27 (Six forms)
This is a different form of the harmonized minor scale and should be given the same treitment rs Ex. 26. Always berr in mind the legato practice and the use of the six different fingerings. Practice in etl keys. F O R M I
2 7
F O R M 3 2 l FORU T+t+ !
2 7 FORM 5 27 FORM 6 27 1 9-EX. 28 (Three forms)
This is a lower form (itt the fingerings, though correct,
harmonized minor scale. Practice very crrefully as some of Practice this also with the arpeggio picking and in all keys. pitch) of the are confusing. FORU I I
a
*13 FORU IEX. 29 (Three forms)
Another low form of the harmonized minor sclle. It should be given the same rreatment as Ex. 2g.
tr
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2
-20-EX. to (Six forms,p
A different hermonization of tfie minor To be given the same treatmcnt as Er. l.
scde which, lile the otlrer scde studics, is in sir for
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FORU 2 r.ft-2t-EX. tl (Six forms)
The harmonized mihor scale built on the tonic chord. To explain this more clearly in case of doubt,
it is written in the key of D minor (using accidentals), using the tonic triad only, as harmony. Practice eacl
form carefully as each fingering presents dilferent hazards. This exercise is to be practiced in all keys.
F o R u t 6 V
L ' C # , r b ) , J
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FORM 3
-22-EX. ,2
A lower form of the harmonizod minor scale built on the tonic chord. Apply the same principles ir this exercise as in the previous on6.
a
TB
FORM +
-2t-WITH SEVENTH
CHORDS
EX$ " &, t4
Buift on thc scventh arpeggio which tekcs in the entire fingerboard. These exercises cannot bc playod
in ell rhe keys in thcir original form but crn be moved up and down the fingsrboard by leeving out thc
first measure when descendint (if too low) and leaving out the fifth measure when ascending (if too high).
Ex. ll is in one form and Ex. 34 is in four forms. Practice the fingerings in Ex. 33 tuing the same no-tation as in Ex. ]4.
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iilEor-EX. rt
A short s€venrh arpeggio in triads. You will notice that the fingerings in this exercise fell right under the hand. P.y special arenrion to the markings es this exercise uscs alternate picking, which means that
the second and fourth triads in the measure are played with up-strokcs. Practice in ell'keys, descending
chromadcaIy. ^ n V F r n Y + 8lr 2 8t t6
-24-8 g
EX'. t6 (Three forms)
A long scventh arpeggio in trieds. Vhen the fingerings in all three forms are learned, start practicing them with alternatc picking, rs in Ex. 3f. Also practicc with rrpeggio picking.
tfe
8 6
EX,. t7 (Two forms)
This is the first of a series of stretching exercises, You will notice that the middle note remains the same while the other two voicer move around the middle voice in chromatic tentlu. This is the first exercisc using a broken set of three strings. (Sce page 6). Pay close attention to the set marlsings under the staff
in all these exercises. Practice in all keys in srraight down strokes, then with arpeggio picking. Be careful in the larter as you have ro jump over a string with the pick. This must be done smoothly.
FORM I
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FORU 3 E 7 2 t-EXS. 18 E t9
Ex. ]8 is in one form rnd Ex. 39 is in two forms. Practice in all keys.
Give these exercises the same treatment.as given Ex.
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3 7 t 8 FORM T 8 9 roR[t s 8 9 EX. 42 (Two Contrarytil5
r t t /i {>fiu
2 + alnsn
EX. 40 (Two forms)
Contrary motion is introduced in this stretching
gymnastics. C-onstant practice of rhese two forms will
ularly in the first form. Though dissonant in spors, sible by the two forms.
exercise. This comes more under the heading of hand
definitely increase rhe spread of the fingers, parric-it is correct. Practice in all keys which is mrde
pos-The same
princi-employed in this exercise. Observe all markings carefully. Practice in all
FORM T
4 0
FORM 2
40
EX. 4l (Two forms)
This is related to Ex. 40 inasmuch as it is a stretching exercise with similar srrucrure.
ples are to be applied. FORU t ,lt FORII 2 t l
' 7 o , r t t
t i l 5
313 forms) motion is 6\ again ktYt' F O R M I M 12r,x. 4,
This is the same notation
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,ilo
as Ex. 42, butt h o 3
Apply the sameprinciples.
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Brla B T B
F'X.44 (Two forms)
Introducing a new type of picking which is very hard ro gauge, therefore it will develop accuracy
with the pick. Although this exercise is written in 8th triples, practice very slowly at firsr. Note the new
set markings under the staff. They refer to the chart on page 6. Pay special attention ro the mechanics
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FORII 2 EX. 4t Same notation asc
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Alg octave higher. Practice in as many keys rs possible.fi
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4 C O in Ex. .3 .3 46 AdgEX. 46 (Two forms)
Contrary motion is again employed. This which resolves to a more open voicing of the F O R M I
exercise surts on the seventh tried, goes through a progression
Eame seventh and retracts. Practice slowly in all keys.
I All-3 3 'r z'mX 40
The lower three notes of this exercise are identical with Ex. 46, but we have added a stationary nore on
top which makes it necessa ry for this to be pnc ticed es a new and separate exercise. Observe all markingr
carefully and practice slowly in all keys.
r O R U t 6 - A F O R U 2 17 F O R U 2 3 3 8X'.47 (Two forms) 17
planted each time. In other words, look out for slides. The first
string, not riding it, but suspended a little ebove the string. prac
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WITH DIMINISHED
CHORDS
E X . . f t
Starting the diminished study of this volume. These first two exerciscs on the diminishcd trird are
very important. As you know thc diminished chord relrcar itself every four frets. Therefore it is neccssary
to have e good foundation in order to judge the distance betwcen triads. You will notice the fingering re-mains the same throughout this exercise. The jumps should be fast and accurate with tfie fingerc rclidly im-finger should rest just above the fourth tice slowly.
EX. 49
The seme principles apPly in this exercise as in Ex. 48 except for the finger ,suspension, which is re-versed. This time the first, second and third fingers do the worh, and the fourth finger is poised just abovc the firct string. You rnay have to spend a lot of time on these firct two diminished exercises to get the two idle fingers to lie in readiness. This is important and musr be practiced until perfecc
EX IO
You will notice in this exercise why thc finger training in Exs. 48 and 49 is necessrry. Those
exer-cises are combined in this one, in . one for one order. The first and fourth fingers should alternate like thc
ends of a rocker trm. In other words the first finger should remain down until the fourth comes down, but make sure therc are never four notet sounding not even for t fraction of a second. Vith this fingering the exercise can bc playcd very tegeto. Down strokes should be u$d throughout until thoroughly acquain-tcd with the exerdise, aftcr which time alternate picking should bc usod, with the up-strokes falling on the second and fourth triads. Observe all markings carefully end prlcrice slowly.
-28-EX. il
Our prcvious diminishcd fingerings pley rn importrnt part in this cxercisc, which is iri cyclcs wirh scycn trieds in each cyclc. MerhinF will h fourd in thc first cycle onl1' rs the set rnd fingering mrrhings rrc thc same rn t{re rcrt of the cycles. Prrcticc with down-strokcs until thoroughly rcqueinted with thc excr-cisc, thcn usc elternetc piclitrt, rs cxplaind in Ex. t0. Precticc slowly.
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EX. t2
The cycles in this exercise are divided by " bar line. Notc the similarity to Ex. fl. The first cycle to€s up the scale, the second cycle is the reveree of the 6rst a hrlf tone higher, and the third cycle is the
reverse of the second a helf tone higher; the result being chromatic diminished arpeggios. Fingerings will be
found in the 6rst two cycles onlh rs the rest us€ the same as these. Vhen thoroughly ecquainrcd with
EX. ,'
A rethcr unusual fingcring is inroduced in this exercise which will heve to be practiced retionally rs it is tiring rr first. Make surc thrt all the fingers except the second rrc arched. Don't be alermed if the firsr joinr of the second finger aches slightly while it is lerrning to berr the strain. The fingering remains tht
slme ascending undl the octave is reeched, then reyerses rnd remains thc same descending until thc startinl
point is reached.
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EX. 14
A variation and development of Ex. 13 in which you to up and down the scale chromatically. Th,
explanation of the preceding exercise is to be applied.
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---'Thediminished scele which ascends differently than it descends. Read the notes carefully as they
may sound wrong at firsn Don't depend on your "ear". You may have dilficulty in forming the as'
cending formation. To avoid this, over-spreed rather than under-spread your fingers. The descending
fingering is less dificult. In the second form, the rscending fingering is dilf,cult and the third finger ma;
be sluggish, so practice trhis form yery slowly to provide time for concentration on the movement of thar
finger. FORU T 5 5 FORM 2 5 5 ,*)
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The chrometic diminishcd scele in this forrr is one of thc m6t dilficult scrciscs ro far, inrsnruch .s you havc to plry two notes in succcssion with thc firrrt 6nger. Thc dificulty hcrc fu in matrng th6c two noalt ound as though thoy rcrc frycrcd with tro fngers insteed of one. T}is can bc done by melint thc moyc-mcnr very fast without tlfttios or slurring. Prectice slowlv.
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EX. t8 (Two forms)
This is the fint diminished chord exercisc in open voicing. It is necesary to *"deeden" I string. This is taken care of by the fingering. For instence, in the first form thc D string (IV) is stoppcd from vi-brating with the second 6nger while that 6nger is uscd for thc note on the A (V) srring. Practice slow-ly and observe all markings.
EX. t7
In this exercisc the top linc is in quarter notes and tfie harmonic structgrc is h wbolc notc3. Mahe surc the whole notqt ere held for their full vdue. Chccl, once in e while to make sure dl three notcs in dE trind are rcunding. Th$ exercise increrses the reach of the fourth finger. Ths 6ngcr will have a tcndency to lay fat when it should be archod. This may bc a strein at first but it cen bc dwclopod tfuough work.
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The pick strikes that sFing, but thc tclt hand 6ngcr docs not lct it $und clcerty.
-EX. t9
This exercisc combincs opcn voicing with cloeed voicing. Obscrye ell martings and prectice dowly
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In this exercisc the moving voice fu in the middle of the structure, which prGrnts a dificulty as th up-stroke must pick, the middle notc while the two ouaide notcs arc sounding. Make sure you do no deedcn either of the snsteining voices with the up-strohc. Thrs is accomplbhcd s follows: After rfie dowr -stroke the pick should travel in a small returning arc eround thc upper string so you will not touch i end stop its vibretion. Thcn with the dcccnditg backward motion the pick will strike thc middle nor sefely. Use a cornplcrc wrist actiort.
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Ex. 6l
The general strucnrre of this excrcise is idcnticd to Elc 50. Th diffcrcnce lics in thc noving voict
rnd thc fiogetiog. Apply the seme principles.
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-r2-Ex. 62
This is the same in every respect to Ex. 6l except that it is on the second "broken set of three"
in-stead of the third set and t$erefore pitched higher. Apply the same principles.
EX. 6}
This is the same as Ex. 62 cxcept that it is on the first"broken set of three". The same principles to be applied.
6 3
EX. 64
The preceding three exercises are combined in this one, covering the entire finger-board. Practice
very slowly and make sure the middle voice is clear and crisp. After this exercise is well practiced and you
are thoroughly familiar with it, try changing the cross-over points.
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EX. 6t
The moving voice is again found in the middle of the structure, making this exercise similar to Ex. 64.
By now you should be familiar with this type of picking.
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A greet lmount of accuracy for tJre right hand b developcd in this exercise through the type of pick. ing employed- After you have rcunded the first and second notes in the meesure, the third rnd fourth fingen of the left hand should be right above the frets reedy to drop into ptace. In other words, have the fngen
formed before the two fingers drop and make sure they come down together f,rmly. Do not merely lay then down but snap t{rem down hammer-fashion simulmneorsly with rhe pick stroke. Give the notes their ful vrfrre and practice slowly.
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EX. 67 (Two forms)
You should be familiar with the 6rct half of each measure in this exercise, but inasmuch as the seconc helf in new' practice the whole exercise as an entirely new study. Even when you arc familiar with botl
trouPs it will still take considerable practice to combine them correctly.
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This is prectically the same .s Ex. 67 znd should be givcn thc samc trcatmcnt. You may have di6' culry in susteining the bass nore while thc other fingers are performing. This is overcomc by
conccn-tretion and e little more prcssure on that onc notc. Practice slowly.
EX. 6e
This exercise is in contrary motion, going from r clced to m open form of major chord, and then re-turning. It offers r greet amount of variety in finger formation which develops accuncy and agility. Practice chromatically up and down the fingerboard.
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EX.. z0 (Two forms)
This study is beneficial in more weys than one as it develops lccuracy, agility, and timing. In thr last half of the second measure the middle triplet triad is sounded with en up-stroke. Melse sure al three nores sound. In the firct form, the first triplet in the last half of the second measure sholld be prac' ticed using thc 6rct, second, third and fourth fingers elternately. The proper way to do this is to usc thr fourth finger the first time through, the third finger the second time, etc. Do not apply this in the secont form because the fingering will not mrtch. Prectice slowly in all keys.
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tt-EK 7l (Tro formr)
Thc frlt fornr of thir crercisc was dcdgncd to dcvctop thc third and fourth 6ngers, end thc a3co11
form for thc fourth f,og"t donc. Practicc slowly at first in dl L.yr. Vhcn spccd is developod in thes two forms, thc top linc becomes a moderatc trill.
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EX.72This is Ex. 7l invertcd. It develops thc third and fourth fngerc for long range accuncy. Be ver cereful in plecing ihe fourth f,nger each dme as it may derden thc next string. The piclcing is very touch in thfu excrcise es you have to crocs over the triad and sound the D string wirh an up-strole. practice chro matically up and down the fingerboard. practice slowly.
EX. 7t (.Forr for:rs)
This exercise is built on half t{re scale and is, in general, good for developing the hand. you wil notice that tfie wrder structure is in thirds. Make them clcer and lcgato. The third form is particularl' vrlueble for the hand as you Play the exercisc without thc uee of the first finger. Practice slowly in al
keys. N)BU I
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A variation of Ex.7l for developing a long and accurrte reaclu
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EX'. 7t (Two forms)
This is identical with Ex. Zl but an octeve lower. More prcssure has to be epplied when playing on the lower strings in order to obtain a clear tone. Practice carefully
EX. 76 (Two forms)
Identical with Ex. 7!, but an octave lower. Practice slowly in all keys.
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-t7-EJX. 77 (Four forms)
A variation of the last hdf of the mrjor scale. Forms ! and 4 arc identical in notetion but en ocrrvc lowcr than forms I and 2. Practice elch form up and down the fingerboard rs frr as posible without using opcn strings. Practice slowly at frst.
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EX. 7r
This is a verietion of the major scale. Practice as legato es possible. Pmctice up to the key of F,
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EX. 7e
This is another variation of the rnajor scele, pleyd on the lower sets. After this is practiced, use tht fingerings fourrd'in Ex. 76 with this notetion, then use the notrtion in Ex. 76 with the fingerings in thir exercise. Practice down to key of F.
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EX. 80
The augmented chord with the whole tone scale as a melody. Form I is on one set while Form 2
takes in all "scts of three". You will notice in Form 2 thrt the patterns on the fingerboard are all relrted
and closely located. Practice very legato making the cross-over quickly rnd accurately. Prcctice Form
2 chromatically up and down'the fingerboard.
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F O B M 2
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EX. 8r
This exercise is very bcnefcial because of the wide variety of fingerings and hand gymnastics. Pay
closc attention to the fingerings and markings and do not try to practice it too fast. Benefit is derived
from an exercise only when you cln go through it without stopping, no matter how slowly you have to go
in order to do so.
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Individual control of the fingers is developed in this exercise. In the first measure the third and fourth
fingers play the rwo upper voices in quarter notes while the first and second fingers sustain the lower
voices in whole nores. Be careful that the presure on the lower notes does not decrease because of this
movement of the third and fourth fingers. In the second measure, the fourth finger sustains a triad while
the first, second and third fingers play the lowest voice. Practice slowly so that the last chord in the second measure can be rcunded in tempo; smoothly and evenly. Play in all possible keys chromatically u p a n d d o w n t h e f i n g e r b o a r d .
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8 2 NOTE
Go back through the book now, taking all exercises in which down-strokes only were used and practice
them using up-strokes. Then practice them using up and down strokes alternately. \||ARNING: In
crosein6, the strings with the pick, make sure the up'-strokes are played just 1s quickly as the down strokes.
Try to make them sound alike.
---ETUDE
STUDY
The purPose of this short etude is to show the practical application of some of the fingerings an( exercises in the method. After studying you u,ill readily see which exercises and fingerings have beer combined in forming this etude.
You should try writing one of rhese every week, applying the following rules. Limit yourself to i certain number of exercises (five or six for example), varying the value of the notes any way you wisl
without changing the fingering. You can use any part of the exercises selected, from the smallest part t(
the whole exercise. Tty to vary each etude from the rest. Remember you can not milk any of the ex.
ercises dry, as there is always a new way to twist them around. Keep them as simple as possible at first, for
if they become too complicated it will be di{ficult to resolve them properly. Later on when your know.
ledge and experience has been built up gradually through the construction of the simpler forms, you will be able to resolve more dilficult situations.
Solidity and construction should be the foremost thoughts. Keep them harmonious and melodic. Do not exPect too much at first in developint these studies as it takes time and work to be able to write even a fairly Sood one each weeh. After constructing an etude write it out and save each one, so you will be eblc to check on your Progress. One of the best features of this study is the fact thar you can see your comF)-sition on PaPer, thereby enabling you to study it thoroushty. This study brings our and develops your individuality, at the same time teaching you ro write along practical lines for the guitar.
