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

bv)
Parts of the Guitar and Their Function

##' """""""""tia{1

t#F,FI

Tuning pegs

.y

----.ltot

4-, "

toBC ol z"

Nut

7 v'y
Fret

Supports strings at upper

end-

l "'tit'&Ft

Pitch gradation markings.

1+Vffi."

2..-..er,q\\rbf r'l r,:

Neck t,,*L<r'l+(:,,8

4-.y

"--'-.-.-'...'.-."7 v 'y I t L '> z1'r) y@

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

+5tF.

ll/:L (t'.

It

Regulates string tension

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

Strings

Made so that the lelt hand

can slide easily.

Hard *'ood which

an-

chors the frets and also

helps prevent neck from
warping.

The strings are made of

nylon, and the lower
pitched strings also have

metal incorporated into

them as well.

;Fr< -(W) """'+ t -o>41*a' &'6ry" Basic part of the guitar.

l*6., e#,0)32oF'; It is composed of three
Body
('<'5<r^"

parts: top, sides and back.

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

controls guitar tone. lt

is made ol wood far soiter

lmportant
Top

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

part

that

than that found elsewhere

in the instrument-

t,

> f t-)v. - -. u u 3 t rit) xti r- I 6 f:

Sound hole br-E$,,h:<t,6t."
-

lbrltl*L\\ft4

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

for audible
production of the vibraNecasary

tions from within the

body. lt's shape, made
of inlaid wood

creates a

lovely mosaic.
:2 tti

++{7

t)

../

r).....*, of

Saddle
WJ

.- --

- - -

-- -

Bridge

1t

ofxat

-(.

+t

o tt c o) I z
"

t ;1, I .t -

*l

r-2agF\"

t':

u> o)

Suppoas

t--1

t-t

the strings

at

th lower end.

Tramfers vibrations from

the scrings to within rhe
body.

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

Kinds of Notes and the Way to Count Their Durarion

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

Olt,JLTtr)

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

?ft

l '>a'4#i'( 2

o (-)

whole note

22<'+i+l-:FlLRl

2frft

two ofthese get a count equal to

one whole note.

half note
4

takes a count of 4 beats

-r r r
)rt)tr r r r

42<'^i

Jrt)

?^#

quarter note
B frT.+

eighth note

t6rltr

.b

sixteenth note

ty) -l r r

-2

t-

four of these are equal to

the

whole note.

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

<'A*l

I -" Fl Uf<

l6 ofrhese take a count equal to

one whole note.

ffitaLh,tc
Tuning Methods

&*o+btx

(#1t)tJ, + 7-

ts

fThe ability

l'l U J i :, r\-? ffigf A : y^:t,+_tr

4 a "/ <"-r " H U,D 6 +,atto) t tt\ t

it' -#f& tlka ott::.t'{'L r a " < L

6 &E- -WtL < 3 f: L
:+t)ffi-B
^at
H

U&bl f"

< r,

u:-.----nst

tE,

o)t--*)

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

L

following merhod may be used.

I 6iH+,

f 7 / rtT rlt
t4"

(*

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

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

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

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

4(i) tx.5orttat)
F1U

t--l

"

guitar will increase with

ions betwcen pitches has been acquired, the

.J

to rune rhe

practice much the same as performance does.

At first, it is better to use a sixoned pitch pipe.
Then when proficiency in hearing the distinct-

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

-

tuning fork,piano or pitch pipe

to get the correct pitch.
Next -----..Pressing down the fifth fret of the
use

fifth string, tune the fourth string

ro correspond to

it. (D)

Then----...Pressing down the fifth fret of the

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

string s

1 19.

Next ..-....Suppress the fifth fret of the second

string, and tune the first string to

Last

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

string (A), and rune

fifth string.

it to

the sixth
the open

+'r-0)##lc.1g bfuaF+
Terms Used on Guitar Scores

tt a#7 t

a{E,fin t;r,lAZt

^f

arT

Signs lndicating Strings

Signs Indicating Fingers ol the Right and Lelt Hands

e@o@@@
&tt

o)

6 + o<'.

. tj."

'h+

right

40> (/ 3

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

*,,

+r.

$String numbers are always enclosed within

circle. Numbers

are indicated beginning

lrom

high to low.

t t t at- L <, 4. I fSF.

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

l?o>ft::r',(
* 7-

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

plucking, the fingers should be resting on the

nxt string.

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

About the Nails of the Right Hand

t # o) a ' {F! (tE

*Y.]-ED b'i,n-<4?/c.'i2 a') nY', o>ll
L /:Ui,&(';E*f 4CIb:*&.<t', oltL
t':ftto)*.1J, fu'Eo>+f> F "--/'"-t t.
7

Theentire finger, incl'rding joints, are involved

in the playing movement. The term 'plucking'
the strings is applicable here. Take care that
the arm does not move together rizith the hand.

{EofAF 0>9t 3

' 'y

Inl

$ Al Aire

#CIffifr o)fi ! L1 t'>'(. () ( t;*T, r> i

t rt|'cb' ( s Yt.i ?*;5 <llt t J f
i, lffiit': L J L-fur,1L j *z't't i :

II

*a

How to Play with the Right Hand

&ztv.74v

&

: L<' 1 L,

lJ*_4 o rt\

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

is usual in classic guitar playing that the

nails ofthe right hand be allowed to grow out
to a length of 2millimeters(when viewed from
the palmside of the hand). They should also
be filed with an emory board or very fine sandpaper so that the outer'corners' are removed
and the edga smooth and rounded. However,
while the performer is still a child, this is not
always a condition suitable to everyday life.

$lt

Therefore, in the beginning stages, the nails

need not be lengthened, butcanbesolateron,
as the student's perlormance level requires it.

tY2a>t
Position Diagrams

&o>Affi I ;f:t :,2 = 7 ( 1 L 48,r,4 I 7

> 'v t t FLI L 2&g) <'o>' T, 4 ?L ?

t 4Eafi z 4 tfft (7 > .y | ) Y Affr

frtlLt:Loa'f
tLo)

$Diagrams belorv indicate the scale obtained in

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

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

o#&+"

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

4

*.+

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

to

-.L

be used.

'}
7z

v:

Yi

DE

Ai

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

l.:

i77

EF

7z;

Fi

'r'. ll)

ryL

o9frtr^
Ofg-@$
Open Strings I
---6

at+

(
)
(Whole Notes)

I"z

(f

EB
123

Count:

Orc. T*o, Thte

Four

& 4,h+ t L ->/t 1 b.4 Ztt: i t (^ 3 L t),

(O-@ l, t 2J tl <
rn(* 4E) t

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

>f

oat t r.tfi<

(2il)
(Half Notes)

in!n
mim

L234
FN
tsq

(i+)
COUnt :

firG

onc

(4atf

(Quarter notes)

(+)L

tntrn
im

234

rnam
mim

*
{

rit
E

Count to four carefully. Using l'(the index

finger) and ze (the middle finger) alternately,
play notes I through 6.
Learn both the Al Aire and, Apoyando methods

10

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

@-----,
t:
c

&::

/r'+.lJ,-trE

bt' I (

<lLi.

&&r'f

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

Now we will begin learning how to use the

left hand, so listen carefully to your teacher,

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

)z

and learn the correct way-

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

E ll

li

('f . /: tJ, &ina> F Il@ tf .ft i

<, tl?ttlTth-47v.y t +,417v
"t I t11zll"
/)<,
^o)v$3CIiEti*.a
7 v'y l Lfr 3z v.y
l Tt"

vv

t.'t.'
cc

&

r- i? it:
(F3lf"

&

rn,J-

DD

oltJ.&.4h-l<fi

and the rst fret should also be suppressed.

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

7z 2z
FF

EE

it: I I l: L

tt Ut 4H enrni) LrLLL

4:Y"

The fref number is the sare here as the finger

number. For example, the first C to be played on
the second string @, for the finger number is I,

w -t

-f

t
G

The first finger (l) which plays the C is kepf

held down until the end-

Practice this pattern again starting

middle nger (m)-

with the

20)/v7\Four Melodies

&t

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

vo)r-3

tl9-

: 4tt,

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

oifra)

tt'itr

( t.

that where the fourth finger (4) is

used for the G, for the.previous D is played
Please note

with the third finger (3).

./f

jL )V
F.Beyer

aa

:ll

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

The Repeat

Sign- Material within the signs is played

again-

12

b) bx)
F I '/

Lightly Row

4.&

V<.-*

W *&

Cerman Folk Song

Edited by M. Koyama

+'ift
Student

5x 5 6xi
ft.L
Teacher

6x i 6xj

taltl:*tu

r3

2t
fs,
Whole Note,

re,4ffiffiA<^t>bt

Half Note, and Quarter Note Combination

.r\ 4 s_ ll/

,t.J,

F#

f6#

F. Beyer

Edited by M. Koyama

*"tfr.
Student

,c*
Teacher

,,i 4 _t_

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

*-'rfr,
Student

fr.*
Teacher

&rs! t-y'= z(Variation) lJ r**r O:

Y<, L Y,)u't--FlY,* t>t:i/: ,' t.t '

rf"

4.
I

Above)

FiF

lV

f6

F. Beyer

Edired by M. Koyama

l5

'zi

Cuckoo

f' 4 '/

,1.J,

V<.'a*

E+ f6e
German Folk Song
Edited by M- Koyama

ft.*
Teacher

&

t tg e

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

Vttt--t<&LlLr i.

/Lt

To bring out the rhythm inherent in the 3/4

signature, put stress on the first beat of each
measure,

16

Ji'JiL:L
Gentle

Bee

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

Edited by M- Koyama

*_t.
Student

ft*Teacher

t7

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

l*1t-tt
open string

fr27 v'z I
2nd fret

*f'L t'
New Notes

tuLLwj
Exercise

Third and Second Strings

v
B

l*1t\lt,
open string

18

*f^eo)k
Song for the New Student

l'' I '/ 7r, =*

,]. E# f&#

German Folk Song

Edited by M- Koyama

+-lfr.
Student

ft*
Teacher

&,y L+err'-a\

t TTLLL o i t 6 :

"

.r

fPractie this until it

can be played rapidly.

19

(LLL,p ) ffi
"/t)V=-

Etude
rD->

,..,t

(\

F# *&

C. Czerny

Slowly

Edited by M. Koyama

*'rrt
Student

ft+
Teacher

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

l I f"

t,-rJ

* t7

is the same ur .D.D

get one beat.

Two eighth notes

@$ @ft
Scales Using ths

tlfr.->tcH
Fifth
and Fourth Strings

gG
@

@-

t"

i.

7z

xltlli

ffi2zv'y I

43zv.v

Third fret

Open String

Second Fret

4f L

t.*

New Notes

*tLLwi
Exercise

faLLwl2
Exercise 2

437vyl
Third

Fret

21

3rA6E
Twinkle, Twinkle, Little Star

71 /

,t.

x&.-';*
n# *a

French Folk Song

Edited by M- Koyama

+lrt
Student

ft*
Teacher

22

7?t)t) x
Amaryllis

(f

)3
Count:rn,*

& 1a>o>*ttJ7,

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

Lines above the notes indicate

phrasing (turns

in.rhe melody). ln pieces

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

Ftro(ffi6)4LLL
Whole Scale Exercise

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

& 2 l4i Tt--zrAgt{t *>?t-(.t,t i,-f

E'tf!a|n,, 6 ( :*r4-(.r * <.+ .
,\:4F.1t,t-n<ILLL r i L I L r r"

Exercise 2 uses all the

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