b i bo i~e

113

G Av A f r in 9 .C . O. B 0 I._; a t G ~n n a-3 ~1924

(
\

I
:!f.~!Dj.'.the

lD·uhJis.h.'Nll &: 1 nay L e hmdmf

AuilioT,

by :3 .(C1btillJ:»Jlhe-1tl)1L'tll:-)lc §-e.l1fb ,["il{)) lifis

Yard

:,[f,l.j:Cf) ~'y• .5 ((D. l'lr(("wN

t'~

-1~(Q)JJ c1l§ jr,f"·et ~

1',[1

ur.,:1 ,F.'<YP'J>. R.rDwV [lUll·ell

(Ch("nps\,d<!.·~> '1',!3 oo~ ey K· f,r~.:!. :S,U oll

f!, l;_[·{.''f~t) D xfo

§i \,(, r-L,

M@truer &C~ ]_OS;W-a:rdOIlllJr"~~·LCoclk§.20.rn1IJl<Clt"§

<9

§t JHI.ailll.«])ver

§q.

rulli<l» <D>f IDrur:ff' kC?({} 5.((hdfoJr"d §It:Jtoe<e't-~&Joo&llJIllillriillll6 ~~.(C~8.JlG>Jbrn:JL §1::rr!?1"t «JJxfUlrd §tJrt
O'lI.Jl§o 'Of 1l:he Auili0Jr,39 .. Grcea"t .lP'oJr't1l8:1l.1IJLd §tlJ.."ee"t.

.I
Without
upon its

,JVt

T JR

o Due

TJI

~ct

ascribing

to the Guitar fhe wonderful

powers

conferred' such
I

by the, Poets
miraculous
• __.. •

predecessor

the .Lyre; which Is said to have produced

e-ffects in the- hands _ OT Orpheus,"-Amphion, its merits

.

Linus , and others; enouirh' Inay be. said. of of cultivation by

and cspahilities-, to prove it to be worthy

all wh o have.
have.
_

J"-

taste. to appreciate To the Lyre,

pressIng
__....1"1

..

the beauties
.

of' Harmony.' of it must be much superior

_J_' __

(judg-'ing' o.f that Instrument _by,. the form which we the G~tar
OI
p __• _...

from _ -the ancient' scnlptur-esv]

"{nose commnauous
'1" ~.'

in its power-iof" exTT

'

mUSICal s otrno s wrucn ._consnrrrte

~_..L~_

"'_~_"l

rrarnlony
.'.
.

1>

-',

"When introduced capable of expr-essingand Shade of. Music

the
~

among-st the' Spaniards.) by the'Moors;it

.
;;"._'..

was. a simple
.

Jnstrn.,

rnent with four string-s . Two others have sirioe been added, by . which it is rendered all fhoae. Con-cords. and' Discords which and. of .producing constitute' the .,Ligallt all the
rna y

the D}.ostiintric~te Modulations ,thJ:.6'u~h

keys of -the: musical ~'cale.' Independently -of its ,mer~t ~, an Ac~omp~ent

.' • I

to
L

voice;
'! c laim

npon it,(as now taug-ht by the

<: ...... • -

best Master-s-] every species of composition

• •

he 'execnted . With such powers, ·adited to its Iig--htn~ss, and small dirnensiona. it may ~ en and receive admission, in situatio~ls f'rom which the H~~p, Piano Forte,and must he excluded. It has in fact from the earliest fimes of .the accomulished
L
"

other heen the

the

larg"er Instruments
favouced
~

comnanion
L

OI both sexes. In the solitar .'! hour..../ in v

'

Closet, .in -the Croup; ~t has been the delig~ht and solace or. 'the . beautiful br-ave , and it is no small. recommendation
Instl-u1llents

and

the
mo s t

of it that in situatiolJ-s', in
. _ , tr

which sounds

lou d ep

mig-ht be an annoyance:'
a'cul:tivat~~
ear .

to others, -the

per-former-

Dlay,

froIll, the.

g"entle-vibration~

,of its. strin~s, enjoy every combination

of

musical

which

can g'raiify
»:

In "-ritin~ Instr-uctions for:. fueGuitar

it has been 'nsual with nlany Masters to tea~h

it accor-ding- to-their
produces a Manner-ism

own style of playing;~ or

i~ other ~~9rds, in that

style

wlrie h

the ir- own continual practice had

which

rendered

most easy to tliemselves. This

as
and

in Painting;

connot

ifailvto become tir-esome, My object

intention

alloe, after

Ieading- th~ b~g-i~er:~:by the most

-OD

simple and easy' prog-ress to a know'-ledg'e'

_ .

of the Fing-er-board ~~f rhe Instrnment,- to teach him Ieft.. hand, and every mo~eof
-l·pquiJ"~d·in the execution
.

e'vsf~y -pB~itj_o* of
• -.,

the fing'prs of' the

by Carulli,

..,'

striking' the ~tring's with those o~ 'the 'rig'hl, which can be

.

of any compositions fnt' the

~..
-

Gmtar; whether~

Giuliani,

Sor-; Ag"uado,Leg~n:ati"or ~y,.~fu~~'Master.

By.thri~' combining- all the' different w ill

mo d--s of" fing--ering-, that distinction between tlietlJ. which oug-ht never to have existed,
IllPut, and a got-eater facility in ~x('('uting' ~.,.~tever .muaic.imay be set, before
;
f

be done a,,"ay with. and ihe~Pupil will acquire ia more'th.~~ough knowledge of theTnstru
.h itu ,

Pt'I/.f'l'·

...

Lnvtr u r-r

II

t ''- ~

:> The
She","-in~ the situations
SCALE

or

GAMUT.

and' names _of the notes in the

-Treble- elef. -Every

-

..:~

suc ,

- cession of ~ig'Oht notes, as from E toE, from }~to F &c; is called 1heGamtIt
BCD E

or _Octave .

EFGABCDE

EFG

The
length

different

notes

with their _corresponding-

to. fhe notes under which .Mini»: .

r

they

Rests which rests are ~

equal

in

are

placed.

S emrbreue , .
Io..~

Crotchet;

Quaver.
!

•
I

~
\

-. ...

I'..

Semiquaner,

Demisemiquaoer.
~

• ...
~

=I

"-

The: Leng1h

or

Duration

of the

notes.

2 .;11inims

___ .

~~--------"""'_-4

.~-_.;

which are equal to

A Dot placed after' a note or rest makes it .half' lis long again: Example ~
is equal.to·_a Minin} and a Crotchet or three Crotchets to

r .,
r-

and so on:

r·

is equal the

'-&c:

When

second Dot is added

Ieng'th of 1h first: Ex: e

. Pelzer"s Jnstrrrction Hook , .

Ir
J

to the

l is equal to ~

fir't

the

second is, 'half

The Sharp (~.) raises' a note befor-e which it is placed a Semitone A. Double . sharp ( ·'A Flat
X)

or one

Fret.
Fret .,

raises. a note already sharp

another

Semitone or

(b ) Iower-s

the note before which it is' placed a S~mitone or ' Fret .. '
a note

A. ,I)ollhle

Flat (~~) lowers

already _, lat anotherf

Senlitone sharp

or Fret. or 'flat
r-esror-es .

A Natural (

q)

'placed before a note which has been made

tlle note to its original character for the duration of the bar in which it stands'.
·A Natural
one. flat. afte~. a Double sharp ( q#) or Double Flat ( q~)takes off' one sharp or

A Double Sharp flat .respectively .

.
,

or Flat cannot be us~d but to a note ~ready

made

sharp

or

. A Sharp or Flat
-ningof a Piece

placed after- the Clef on -a Line or. Space at the beg-inaffects

Piece;

of music

all the notes on such Line or

but when

Space, and
of - the

their. Octaves fhr-oug-hout the

introduced the notes

in the

course

Piece, it is called accidental, aud only affects

such .. Line

and Octave~ placed

on

or Space
I .

within the Bar in which it occurs, except when the

last.,

note: .. r a o -lo'\\ing Bar

not. marked

Bar- is affected by _ Sharp a

or

·Flat, when the --first note of the 'folsharp or flat althoug-h

is on -the same Line or Space, it is -played

so ..

. The of

Order

in -which the Music.· is:

Sharps

and

Flats

must - occur . at the beg-inning-

a Piece

of

B.)' Fljths

ascending.

By . Fourths' ascending.

F.
Thus

c.

G. D. .A. E .. B..

=y&~
they
..

r"

tl

-~

- B. E. .A. D. G. C,
sharp they

5 U·
}t~.

if ihe Piece is written in one sharp, that

must ,be J? .. If in ~-o

they
and

must.

be

and C. If in three

must be F~.C and G ..

nmsf
, "

If in one flat, that flat .nmst be B. If in two

so

be B and R.
I

on

as written in

succeesron .

This -tains

Order

can never be

departed

:from so that sharps

.. -

in a ' key-which .must 'be placed

....4.# at the beg-inningorOPt"

the four preeeedingso ,of the

propt-r

before . it, and

flats!"

..

in their

7
FIGI.TRE.S

contained,

in this

INSTRUCTION·

BOOK;

p~or the.Ltft
Thumb

Hand.

._:. _. _.~ _..

~_

*
2

Jr-'or the Right Hand. Thmnb . :. __ 1\ _ ~---- ..

First
Second

finger_ .. fing'er

~~.~ .__ I ~ . ~ .. _ 8
4

First .. ing'er f

.Third f~ger Four-th or Little finger Open String- _..

.I

Second

fing*er .. :_.:.._ _ --------------- : fing~r ;.

• .__ :":-':' ~:

~--.-----------~- 0 OF
THE
l!'it

Third
POSITION.

The 1st t1e.

IS_t. Position

is when the

FWg'er of

'the left

hand is placed fhe IS~ F~er.

upon is Upon

I.

Fret

of the Insteumeut . The 2~d .Positio~when 'The

q~d

the, 21!d Fret.

'The

Position when it .is upon the

by Roman Fig-~es

ar•d Fret
placed

and so on . above
'or

Positions

ar-e indicated

b elou:

- ihe.. Iines ,
::\IIE'THoD

'of.

TUNING
ill

the

GIJITAR

. Tune

the Notes of the open. Str-ing-s

placed under them. , vi " E.
Ii

umson

-with the

Bass

notes

of

the. Piano' Forte

-: /i

D
!

).~ ("

If

./

.,

G
r.

B
.'"f

E~
"-..~

\.\.,

.;

=±

...,
0

I J.

."

-u 0
r\
I

~
.,

l ~.

.'\.

~
-

0 0

o!
I

0 • • •
~
'J'

'"
"

" -6~
,.
;.

_\

......

Ir

•
j

• •
(;1A

\.\. 1£

"

'-4-

"Tune .'the

lowest

open

string-

. #----

by the ..

E
of the Piano F orrte.

.Then stop "it on the . "\\i111 it. ,St~p 1:he ~ rmison

5~ Fret,
stop

and tune the next open string' above it ..A. ill unison next open tun~ the siring D next
'

siring- on the [jtp. Fret and tune 'the D string.

in

with it . Then

on 1h~ 5~h Fr-et. and

open

strin~ G .in unison with it. Then- stop the G string- upon the. 4~ Fret next .. string-

and tune the

:Lastly stop 1:b.eB string on -the' 5t~ Fret and frme the' :b.jg-hest 'open strin.g' Jt: in TInis~n wifh 'it. If..l~~ ~ni i h~~" been corre~t' "the .hig-hin unison -with .it ,

.n

-est.' and Iowest str"ing-swill l)e a double ,-Octave

Ppl'l"r's
'fn"trnctjoTI

Book.

'

':OI

.each ot]"er.

In .the first part str-ing-s .with -the

of the

Instr-nctions , whenever

t~e

method

of,. ~trikin~
L

tlH"

F'ing-er-s of t~e ri~ht

. ..... 1

hand is not indicated by' fig-TIres; the three

. .

Iower strings ~are to qe struck with ~e_ thumbyfhe G', stri~g ,:with' the 'l.s~ Fin~er; the B string. with the ,2I!t1 F~nger, and. the h:~_string' with the
;"\
T

ar•d_Ffu~~r.
"

Open strings
E

.',

D
0·'

E '\ o' ,'

F

.,
2·
~.

Be
..
•
'

D
.3
',1' •

EF .., I"'"

,- x-------- - - - - - - - - ~- -_- D E

xv ---. -- _ -

~¥

F
.
I

ff

~f~
I

(T

A.

[0 II

()I

,I

3 4<

.
I I I

aJ ~__,_--r

fkr~~aii~~8'~a~e~iM~'l~t~.: ~
~.

_'-; .~-j"'~ :;~~ .. _7j!"ii!~~. ;:':

.. ..

'

:::
i

·
: I

·
!

_.

I""~-

·.
I

...

. ~ i .~: ~ : : ; ,i " ., :_ '.

I,

bL~~b~ ~~ ~ ~~~~'=~~ ~~
h:
;

. ~. j ~ ~ ;
,
'

!j

. . .. . . . .

~[~

i 'G:

*~

28

-4

2341284}2344

EXERCISE

for learning

the I'nter-vals

of 'Thirds

Jt-'ifth

&c.

.•
!

:::+=T~
_"..

"

1:11+ I

..

J ...

_Fi 'ths

rjl
,
'

--.....
: ,

E ~ ~ .~

if

.(}
Exer('i~e
20

of

Chords, in

(}.. l\Jajor.
o

/"\

3 r
~
I

If

\.\.

.,

~J

,J

=it

... =:

.. .~ :i

0,0
~

.-I

... ..
~ ~

.. -

,.,.
.

.. r
,

JI"'"

-...

....

-i--

... r
~

",_
I

-t

..

----o
i .-J

I
I

~
I

s.

-:

.-I

----

.-I

,_, ~
j

r
o

o
:3 2 0

....L
J\
h.'

-J-~I\
/\

II
'0 '

•
L'>.

"

\\ 1/

,r ~

0..

,
I
~-

v_
£>

n.-t

v_

III!
!

1.
i

_.

0<V

~ ... r-"

3.
"

1-. .~,.,. !J
'

;,-

III

, .I.

,..

8.

1+3 ___
I .'

y - - --- - ---

4i
, <.•

:
i

.. ..

I "1

3~
pressure' of the Fing'pr

<- ~,-< •
-< •

-~

~:..

Si

>~,

The

.holding- of a note

means the

of the

Left

hand

.'

upon it durinir

its Ieng-ht or

value , as the dotted indicat.es ..

•I

Minim. in

the follow-

commencement of the- Bar

n l/

,r ""\

'"' 1

••
~
AI

~~

: ,
.-i
-

....,

r
I
I

... • • • .. • •
,
I

I
I
'"",
l

..
1
.-

• • ._ -, •.. .,. ~ ~..... ." -~ .. ,

I
-

..

-i

W'j

.-I

-l

• • ... • • •• ... • --.. - .. -

;.

'"

·If ~
\\.v

""'

.-

~
I

--J Z--_ ~ 'S.

-•

....

-e- •
Book.·

• •.. ...

.. ...

,..
I

- .. .. .. ... ...
.'Si 'S

• • .. ... .. .. .. • . •-. • .. ... - - -

,.
• •
I !
....

..

I !
I

.... ,
I

-er
f
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1
j

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i

..

.. -

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!

•
I ,

j ., ..J ~
I

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•
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i ...
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..

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_,.
I

"..

,_..-

- ... .- .. .-I

.-i

....

8-

-er-

--

--

" .•

• •

Pel~f':r~sInstruction

I()

Practice.

'J

-I

7 '7l' .... -:&

....

-I-~I-

-~..-l

1~ ~

.-: ,

-1
,

•- - 1_- .. -.. - 4. - - =;f.. .. ~.

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-i

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1.-1

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1-' ... .'I i

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r"'l
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i
I

I~

WI

;..._I--

----~ • - -..
.~
,

-it T ,-

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.-i .-

_,

Practice.

_.........,

..... • •

J\ "alt:x,

-~:~ r# I ..of at IJ I:R>~ 'F#'"ro ¥! p# ~./.

..,; • .." '-11-_

..
,

-+

-+

I.

-* 3'/
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-+

3)

_!....

. ---

" s?m
:

~ l\~altz.

-.

....
I
I

I.

After

this

Page

the Pupil .i s recommended to study Page 33 ..

1·,

r-

,. .J 1 .

Prelude.
/
,,
-

.,'

....

Gr a z ioso ,

GIULIA~J

,. I

\
I

.·4
.

I .....

=IL•

::
• ~ /\ 1 •

'

..

'S

1\ 1\

'

..
·\>11----------V ---------- "CTII ~ -._ - - - - - - - - - - - . - - - - - _ - - - - - - - - - - - - - - v-------- ---- ------------

"-

'

Prelude.

.,

12
xn- - ---- - -- -

#+

.J!_

vi ...1illor'~-----+'--+'--' +-~+-.:;;;---t~.r-""'-4K-+~t--:----l~---+---L----L--------'_:""';'~-+-----,":---~U' O' I

~~----------------------------~--.---+-~----------~r-~~~~-4--4-~h-~--~---+~~----~--+---~------~o
1

8'I

3·

4<

-~

........ J
,~

.sr:
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.. _,,_.
I

-I
J

-_
! ",.. _'.

1 I
;

. 8

....

,I

'n

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iff-

I.

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2-

#'>

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u

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... J.

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JItII._ JilI

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....;.. I

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3 0

",-

------tt. ~,.. II

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.......... ~

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,I

Russian v4.ir.

...... U C: • .1

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rl' ""

/2

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'1 Y.:.
I I
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,-I
jitti'_ I ...... ------

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--

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i~

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111'1'-

... .. ....• -- I.

9 v
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--

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••• - - • .~-•~ ••
I
,

II

--_ ..
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GIlfLIANI.

'-,
<

J:i
,

.-

...

----

--.---.~~----------------------------~-----~----

Il

..

·0

30

13

(}·1

I 13 !

24

I2

4- 2 4 1

24

13

-_

TT

·"~I

..., I,
•

Cf·

J
l'\altz.

ct
I

Pdz.-.·r",s L,~tr"1(('ti(j

I"B()ok.
>":~-

I !- Thos~ Amateur-s who do not wish to pursut" the follo"ing;

• l .;,.

and a'nlushig find Mustc

1l1t'ces

are- recommended

to a work entitled

Exercises, and -who prefer '1:11ea~irl~ / HThl~ Giulianiad" in wh ich thev wi Il ~f an easy and agreable

for the Guita-t· (both Vocal iand Tns'trurnental]

characte;'_
GIULIASI
e'

Grazloso ,

.,

-_.

_-_

---

ee«
- .. : -#-:
.~~

uJ..
~l I

----l!.!
, }...

=-T'r' f' i _j'

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I
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1----1 -.

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.'j

T·
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....

.Amdcmte Cantabile
~

-.i'

....
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i

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. ,... i
I

-._
, "+ I

........._
!.

"tliiiij

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.. --- .. ------

Prelude .

•
" . ,.-.,,' -.

• I.

Ina·tinll

lifnlk.

15
n _.: 1- V --.---~ __
; ,-

fi,"1!:. ~
'i

IX - . - - - - --J,i L ...
,__--

1-

r:

3.·

4.

_A

Urlif

:....,,J,f.

rl'l'\ "1:\:v

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-

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v_~

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v_ ~- "". .....
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OF '1\-Iany
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THE

HARMONICKS.

sounds may be produced upon the Guitar: but, those . th J rd th th th th -4most ~n use, as being .' ~ most. sonorous, ~e' upon the 3. 4. 5. 7 . an d 12. Fr-ets. ,They are pr-oduced. _by a" slig-ht presS!n~e' of a 'f-ing-er .of the left hand upon the string'S, just above the Frets, .and .str-iklng- them. rather strong-Iy near the Brictg'e; • with dr-awing- fhe fing-er of the left hand fr-om "the stt~inga as soon as it, is in, a' state ,0£ vihration • They are marked 'Har: or Harm: and', are ~enerally wr-itten in notes smallex"than ihe oth~rs; and In order to avoid a'nlul1iplicity of additional Jines, are placed an 0 ctave Iower the sounds which they prodnce i As in the .following-. Table .
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In playin~ notes which follow eac~ other in quick succession, the mnst . not' be ~uck' pl~yed -sinn, as marked twice together by !-h~._~ame finger., but the with. tll~ 'thlIm? ~ld'
same string-

notes must be

I~tfin~e~, ~; the f,.t and second fing-er

in slIcces:....

in 'this Example ...

.

Presto
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staccato.

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Pelzf'r s In,ti·!J(·tinIl

"J

Book.

: "'hE'll this mar-k note, only are upon them

i

occurs

under

t",,~o'or more

notes

ascend;ng, the ..f'ir-xt

n o t« s
r

is to he

struck
by

with the

rig·ht Fin~ers

hand, of

an~ the

the succeerli ngleft

to be produced·

letting, the

hand fan with for-foe

iJi.: succession.
"

..
.

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legato.

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When this

mark . horizontally
•• -

occurs Tinder two or· more notes

descending, -the fjrst

produced
by pulling

is to be
.
iI.

struck

with the right hand, -and fhe with the :fing-ers or pnllingof the the rig-ht"" , striking

others
left
-

are

the. string-s which Iranrl instead

of the strings

hand,

in

su cce s s i on ;

is in fact

with 1he _fing'e~s of the left

of those

.\

Pt'bt:'l"

s Lnstr uction

Book.',.

E~ERCISE

In

ARPEGGIOS

for the Right hand ,

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N° 16 -m~:;--t--::l--t-::t~:t-+-::t----:f---+---'----+-I-++-1-+-+--+-

Pelzer's

Instruction Book.

4()
i

, III this Exam-ple 'of Thirds. Sixths, Octaves and Tenths the notes
,.

are to. be struck with the Thumb and first Finger. ~

-,"

,
VII

________ --- ----I .. I --------II

• -_ .. .... JIf' ... .. -

:.

.__ .-~---III

C.~ajor.--~------------~------~~-1~~~-r,-~+-+-r-~r-~~nt~~--~~-Thirds.

--------------' _ ------..---.--__ -_ II ---.

,

\
I -------------------------- -.. -----..

Sixths.

II

~---

IV

VII

IX - - - - - - :- ~'~. -

VII"

~v

IV

Tenths.
X

"

XI

XIII

XIII

"VI

-,'
<,

07

Pelzer's

Instr-uction

Book.

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VI

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S

Inn Book-. In :0; true ti

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.;

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. .- .,- _ - - - ~._ -

2-:jiJ. 3
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VTII

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Octaves.

4 ....

Tenths.
IV

TIl,

VIn

XII

XIII

XV - - - . ~____ __

XUI

XII

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VIII

VII

, "IV

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Pdzer" s Jne tr ucticn Bonk.

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Tenths.

orI~ .

.18---

Pelzer"}s

I ll~ trustion Book.

":'

,.

Sixths.

l~
j

Tenths.

r:;"·4
_,.

--;-

Pdlt<l""S

Instr ucticn Book.

..

F.~Uajor~~----------~--~~~~~~~t=t=Ei=f~~~~~~~~~~====
"Thirds.
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~3

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./

, Sixths .._

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=+ T
Pt!lzt-'r' I:i ' I n-tr ucti on Book.

In Blust

the

followingwith

Example , in 'which the

Bass two

is ·added, upper' notes

the

B ass the

Note
l~t

he

str-uck

marked.

ThuDlb',. and the . .•

with

IT ----

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Pelzer'ls Instruction Book.

..... .

---

Th«

Appogg'iatura of the

is a ~race
M.elody. ,
•

expressed

by one or
.

more

small
the

notes note. of.a

preof

-.fi xtid . to a note t he Melo dy ,

a;

Its len~th
_" ... r.

i~. borro~~ed fr-om

:i'" .
J

The inferior. the

Appo~~iatura:~In,:~rder small note -·__.----.~·I-' must .._ bJ'T instance;

to continue _.tl~e tone

with

'[plody

with expression

be struck

the

ri~ht hand

.hand,' fall

and. the fo~o~ing with

force

note produced it.

~

letting- the

f'ing'er. of -the left

upon
IT

for
~~__ I

ft.

~
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----

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.The superIor
l·ig-ht

Appog~atura

is played

by

striking-the horizontally
I _

small note
with

with the
fing-er

hand, and

pul]jnga. the note for

1

OT the M~lody
" I--- __ Tl,

the

of the left

hand.

Instance ;

~--------- U

-r
42

3I

10

3' I
3

Of

,the

~PPOGGlviTUR.A

of

SET~jf~R.JlL

. lttOTRS produce

Strike. th~ first small note with the rig'ht hand , and follow by. Ietting- the fing-ers of the 'left ,
.__ - IT ____ ____ ____ _

those -which
as marked.

hand
~____ _ IV

fall lrpon them

• _• _ _ _ _

I __ ~_ _

Strike follow

lhefirst the

small note with the. rig'ht hand, and produce th ose which ...
other-

Py. pulling

f'ing-er-s

rapidly'

from

the

string's.

4.?

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11

thus

I
,

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