mi eee wl a Ee eeeeeele MUSE SALES Cae Peers eae ~y See 2aeeeeee a ONS ~ GUITAR | 20 SOLOS ARRAN. WASHINGTON BUY MB Love GUITAR, | HAND FINGERING PEEP EEE EEE eee eee Ease eee | ugATLA KOR CANQINL GUITAR‘Australian-born JOE WASHINGTON is ‘wellknown asa teacher and arranger or the Clasical Guta He studied music fom an ealy age and by the time he reached fifteen was already a semi professional. He studied composition at the Sydney Conservatorium fof Music, and has written theme music for television programmes as well 35 for documentary films. He was ako satt arranger for Australian Broadcasting, ‘Although he plays many instrument, it ‘i the Guitar which has claimed most of his attention. He is deeply interested in sts popular application, especially For playing arangements of music of the eat Groups, such ar The Beatles.eee | CONTENTS Ferret 4 oC ines Stin) : Tp Ute Olu ate : Sac Pon é ‘pe bna rm Gyre te, ete we ag) z sous ano sTRUCTIONS 1. Taoalon Fe Gees) 4 Terocton Pv as) 2 Miter ow a) A Atop om eon) tt 3 fe mniee tori) te Fou Avion 30) " 4. hint Ge) % Athy nay cn) a 5. inpaechetoan a targa 2 6. Basi) a Pho Pee into) 2 >, Says nr) 2 Stops tebe ny x Red re ) = ‘eat tae etn a 9. tats Gon) a a ibn ey 2 ve, Beau a} s % u & va hays nso) S toy 5) & 18 Mba le ep Pitty Fe 0) 2 WA ip ry oe acon) a 14, Sond Onan aston “ Seka owas ‘ 1s Gat nae non) S Stigunisn ea) 3 16. How Fu) o toon etn é vy, mt Tene Gt) = Tet To he ion) 5 1a, rm od Gemetom) s Nevegn en i) = 1», Mehler = | ita) & 22, Yoy Garcon) @ ‘ony Ge) & slg tr Mae Rute o se) & Sine tease & (© 174 MS Caper, ee Yor tie ere Insertional Sta oak Na 042862261 ‘te emp! wel Mak Sas Coot ‘a eat do suet Now on 1028 8 Neen Se, Landon WIP 3A HELE Noes Aran, Sey NOW 26 Kier Bee 19,3000, Cia)FOREWORD. ‘Many feel that the charm of the ‘Cnsscal” Guster should not be confined to what is uaually called its "eoncert repertoire”, this being beyond their scope and ambition. The aim of this book isto preserve this character ‘hile adapting it to today’s popular Te will be seen that the first few solos aro simple, and so that those with poor Feading ability will beable to pay them, system based on Chord Disgrams has been developed. This method covers all ‘tho now inthe arangomants and i= fully deceibed in the snetion titled “THE STRATA SYSTEM". A section called READING GUITAR. MUSIC hes been included, study of ‘his, cogether with the experience gained ‘in laying the first few sales, should enable one to continue. The later solos, ‘because of the nce of fuller musical notation, are too complicated forthe Strata System but with lite appli (ption most should be within reac, ‘Each arrangement has an accompanying fat ofinsections dealing with posible dlificulties. These also contala general ‘observations which may be ofintorost feven to those whose reading ability may peed no asistarce "The dosio on the part of many to know about hand poscions, and the ned for ‘general information on the Techniaue of the “classical” guitar has led me to include the section CLASSICAL GUITAR TECHNIQUE at the beck of the book Most of these arrangements were done for my pupils and it was because of our ‘mutual enjoyment that Twas encouraged tohave them published. Finally, with to express my indabrsdnesr 10 J. MeNaghten, who acted as Literary Editor; and Karl Schurt 2 Technleal Editor, Joe WashingtonSR ay THE CLASSICAL GUITAR (Parts and Speciation) he “Clasical”, oF “Fingerstyle” guitar fs con sricted to as to respond to Nylon sirings, Stee] Strings must not be uted as they impose too great» ‘rain on the sound.bourd, To attempt to [eam “clases! sing 2 "Jumbo" type guitar fylon strings) in inappropriate since this generally has a narrow neck — consequently having the Strings mote closely spaced ~ and is more suited to strumming and the use of» pleetum, Many table models of “clasical” guitar are avaliable at almost every peicedevel, andthe fist stent re 1. The fingesboard (feecboard) should be at Sight along its edge from the mat to the end near the soundhole. 2. Tis “action” should be satisfactory — the Stvings ing close enough to the fingerboard to be prested down easly by the lefthand fingers, but rot low enough to “buze” againet the fects ni ay point. 5. The “hormone” at the 12th fret should be in tune with the note at that fret A Overs width eros the rings should be least 4.5 em. (I'"}at the mat, and 5.8 em, (2") atthe bridge, | ne le SIGNS USED IN GUITAR MUSIC 2) A umber in circle indicates the sting © © = Sthatring 1b) Right hand fingering indicated by liters p-pulgar hum ~ indice ~ Is finger (index) ©) Left hand fingering indicated by numbers 1 ne finger (index) 2 — 2nd finger 3 o5n 4 little finger © — open sting 4) A Roman numeral indicates position, (ie the mn taken by the left hand om the fngcrboar ‘With the Bw finger at a certain fet). 1 1st posion, means to place the hand so thatthe Ist Finger isa the Ist fet with the other fingers ready to be placed at lets 2, Sand 4. V_ ~5th postion — 1st finger atthe 5th fret, and ther fingers ready at frets 6, 7 and 8GUITAR TUNING ‘music is written in the Treble Clef, an octave (eight motes) higher than the sound open strings E 44 Finger of the left hand at the Sth fret of ‘the Oth strimg taking the note A and tune the ‘open 5th string im unison with it. Stop the 4th fre of the Sr sting making note B | Stop the 5th fret of the 5th string making note D and vane 2ad string co it sand tune 4th string toi Stop the 5th fret of the 2nd string making note E ‘Stop the 5th fret of the 4th string making note G and tune Ist string to it fanditune 3rd string to ‘Check the 6th and Ist open strings together. NOTES ON THE GUTAR IN Ist POSITION, @—.@ ©—— 6—— 9 Geese TTD Br 0 A BG D & 5 iG) s\ilneGeeeee eed “bar”, “beat”, “syncopation” (Chapter on "READING GUITAR MUSIC” For the explanation of such terms pertaining to the Guitar as) "Reststroke”, “Freestroke”, “Barre” GUITAR TECHNIQUE”.‘THE STRATA SYSTEM APPLIED TO CHORD DIAGRAMS: (A System that enables the non-seader to play solo arrangements). ‘There are many people who play the guitar quite swell up to a cerait standard, but who are very poor ‘readers. Thi unfortunately inclades many ‘with a good ear and natural approach to muse, many of whom may wish to ply there solo Fairy Simple arangements of present-day poplar Imusic seem to. be searer, perhaps because itis ‘thought that there are not enough players whose ‘reading enables them Co (ake advantage of them. Most of these, however, are familiar with the sondinary GhordDiagram sytem, and cam peshape work out dmewalues (how quickly nots sould Fellrw crw snathes) om writen nets iF they Know the song. The extension here of the digesn sytem should cable them to ply the complete Sirangement melody and accompaniment" not Simply the chord background. This process shoud ihc crn iii with tan tnd an understending of the sale und. purpone behind! a study of the Chapter Reading Geter Mts. This in ‘arm should rele in 2 level of reading ability which enable the player to ‘nti with the solos beyond tha tage ‘THE DIAGRAM SYSTEM on which the STRATA, ‘SYSTEM is based i one that hs always been used ined copies of popular songs. Six. vertical inet eprescol the stings, usualy starting at the top from a horizontal double line resenting the faut, then a fe move horizontal nes forthe fs Tew tres. Black dots, or icles are placed on this grid — on the strings and just behind. feet, indicating whereabouts on the fingerboard the’ fingers ate placed. In the eae of black dots, figure indicating whieh finger is used is put at the top of the appropriate tiring jest shave the rit O = open etting, 1 fet finger, et. If circles are used, the fingee number often placed inside the circle x32010 Hi No indication, ota eros (6) on or above a string, ‘any other form of accompaniment, chs all ht necessary. How the player plays the chord with the Fight hand (trum acres, bawwandschord, oF ‘rpeggio). is up to him. Let us now extend the system to indicate a definite five et accompaniment ~ say in f= peeking a Ibassnote with the thum on the Tot best, and picking a threcfinger chord on beats 2 and 3. No Ercand fingers necd to. change throughout the bar, so the aetual notes played ean be indicated om ‘one diagram, and we can use three separate rows of hnumbers above the diagram to indicate which Strings, (and. lefthand fingering), we want the See sya tech eee tow for etch beat” starting from the tp. 1, instead of using a short bass note, we want it to Sustain Usyoughout he bar, we must indicate in some way that it still sounds while the other beats ‘re being played. 2 a iipeat os Se * Tee) For his purpone am asterisk (*) is used, and ‘throughout cach ow in which it appears this Finger held down (and the note therefore sustained).5 In order to avoid writing repeated rows un- necessarily, a figure ina” bracket after a row indicates the nuniber of times i splayed ao F ee 1 (tl in) we wish to play First the bassnote © fon string @; neat, the chord on the 2nd beat, and then the Base note G on string @, we write: n4x #Ko10 kes ro] He covered by the diagram (in this ease one bar). This time let ws suppose that the firs two beats are on Count 5 2 3 However, most arrangements of songs will not be ‘as simple as this, and far too many diagrams would beneaded — anew one every time a note or chord changed — so, 2 before, itis necessary to be able to pack more information into each diagram ‘condensing the above, but still im auch a way ax to bee able to distinguish between each set of notes played. x3201x 3x000% Ko23ix xo@oOx Q1GQox x2304% rte aes ER ©, bur the last beat is Am (A minor): we could then write fe thas 13 rs 17 + i Poesia tet ientng Ont =m Meee eaneeeiore eat Sieg De wspped rei es tae Bie Sic rae eek ona ‘open, (A). pion eee toca ee crap neers ace ett ay 3 Sa you can see that one shouldn't just form the chord without firs Looking at what the top rox of Figures ms. Going further, let ws take a well known tune that cam be veitten satisfactorily i the ordinary chord om the fot hee sings (During thi there should be a eee eet In bar 19 we move up to position IL for the F7 move back to Ist postion for the rest af the melody. for the Barre on the Ist beat of bar 20 the ope tring D of the previous bat Some may find the barees at the end dificult to ‘maintain. Strength in this respect develops by ddoing them. Only use the muscles you have (0; ‘elas the ret (of the hand, arm, shoulder, etc) and 440 not allow yourself to strain. Bats 10 and 14 contain %4-Marre — sce end of ‘chapter on ‘Classical Guitar Technique’ 1 in any difieulty with the erotchet triplets in beer 7 and 9 (gape othe caper “Resi Guitar Music’ 40 so :THE FOOL ON THE HILL aioe Aiea3) xoxaae zxoian * #1 cP Ge) aishaTIE FOOLON THE HILL,ALL TOGETHER NOW fo at eu! 3 dun trl oe cate “al T = a y ‘capt 1864 texte Watt NORTHERN SONGS LTD, en Set endo MX TA,oi ot me: ALL TOGETHER NOW + te Fe FTFALL TOGETHER NOW (Sloderately Slow Tempo) In this soo the sixth string is lowered a whole tone (oD, (sounding an octave below the open (2) This Fesulis in the note Eto which iis uually ted being now a fiet TH: and of course al notes fon @)will similarly have to be played two frets higher The Melody (above the arpeggio accompaniment) should he” played. Rest-strone (See the chapter ‘Classical Guitar Technique"). Listen carefully to make sure that where melody ote and bass-note oceut on the same beat, they sound ‘ogevher, (a reststroke simultaneously with p freestoke, The second section provides good practice for the Ye Mare, particularly if you preter to Finger the D chord in bars $ and 4 of this ection #, (4 (This of course may apply whenever this chord occurs). ‘Two examples of Syneopation occur: in bars 6,7, and § of the fest section, (where the accent ‘ormally falling om the Ist beat of the bars — by the use of a tie ~ thrown on to the previous beat); and im bar 8 of the second section, (where the fecenls are made to fallin betieen heats). Hf there ‘is any difficulty arising out of this, sce the section fon. Syncopation in the chapter “READING GUITAR MUSIC”. Notice thatthe chord on the third heat of each bar in the second. section shotld be fairly short, a= indicated by che erotehet rext on the fourth best FROM A WINDOW Moderately Slow Tempo ‘Throughout this solo there is a strong rhythmic feel gencrated by the basie shythim structuge upon whieh the melody rests, paid |x| easter It combines the thythin guitar pat lededl and that of the bass “Together they form the asic Side-drum Bass-rurn pattern. You will therefore appreciate that you Sone are playing the parts of several payers, and the whole rhythmic interplay must be contained ‘within the right hand. Start slowly; with this type ‘of ehythen you eam go as slowly as you ike a ‘should stil Sound aright. ee a a fee al aie werk ac on notary if you Inna cut With an Beat fer fo cae ba. itis reeasas The ayncopation in the 2 Secion ea Biles complex, but continue to count in Ws; also conalt ending Guiter Music for hints om “doubling” the notevalues as. means of geting the “feel” (ther things to watch: the position changes in Bar 5, (remember to keep the thumb under the frst Finger and the wrist steady). Abo, in Bur 5 of the Ist Section, relax om the chord-changes (see notes fon Fool On The Hill). Once again, mo vst movement should occur ‘The slur over the 2quaver group (BaF I, Sed heat), ‘means that the Ist Gnger (on F) snaps of to sound the open E (actually picking with the left hand. Make the jinger do all the work ~ the hand does ot move atl There is «rather quick change of position from the last chord of Hat 6 to the fist chord of Bar 7, but this is made easier by the fact chat the latter i the wellknown Istposition chord of C. ‘The main benefit derived from a thorough control of this arrangement will be the growing feeling of a separate, steady rhythmic function of the thusly 2 feeling of being independent of the function of the fingers — s0 that it works "by itself” without conscious effort, allowing You to concentrate your Bttention on the melody 1 ecommend the Righthand fingering as marked; there can be + certain flexibility in auch matters but a tendency to develop any aneaidedoess fx technique must be avoided — such as the me of ‘one particular finger consecutively (jy...) the failure to integrate into the genetal system. Ie largely. matter of leaving a finger in the best position to ply a follossing note. thus helping String location. Most musie should sound ey and natural, and therefore ease im playing will help greatly. fe- member always to begin practising at a tempo which i easy for you: this will help to avoid Duilding tension and insecurity into your playing As with Lefctand fingering, the advantages of ‘coucetly planned Righthand fingering become mont apparent when the piece begins to “come together” and flow (Those using the Strara System will notice that Bars 9, 10, 11, 12, 18 and 14 are the same as the First six bars of the volo).FROM A WINDOWFIOM A WINDOWALL MY LOVING Seah 14x NORTHERN SOS 170,12 St, Lin WLi a= 20 ec, Derangement is simple and straightforward a Timestructure; however swe get farther away 1m the frst position und improve our knowledge the fingerboard, (The Strata System diagrams Single melody-notes (those with stems turned), oF those beats involving only one finger id thumb together in the Right Hand should be played reststroke “There is more use made of the block movement of ‘small chordahapes (eg. the frst three bars) open Strings are employed to make changes of position Imoce leisurely. (Bars 1 and 5 ofthe last section ave instances of this — the open D helps in the change from BVI to BIN). ‘Observe that in Bars 2 and 3 (of the Ist Section) the 4th Ginger remaine on the string as marked: 444. This helps to stabilise the hand, but does not mean that one should hear a sliding effect (or Bortamento) ‘Tempo: MM 496; 4 Bars = 10 sec. May be played in am easy lowing style atthe above tempo, or ad — varying the tempo from tte to time as you choose — a more “romantic intrepretation, There are more changes of postion in this piece, but no difficulty should be experienced until perhaps the middle scetion, when. it. becomes ‘mainly a problem of reading and relating to the fingerboard. If the diagrams are used to assist, make sure you are at the right fret — change position according to the Roman Numerals and First look atthe black dots only: then a the icles. Notice also that sometimes 1 diagram relates to halla bar, three-quarters, ora whole bar. As uroal, the melody shoul be picked out in res stroke wherever posible The 2nd finger slides up @ from the lst quaver before the doubletar into Bar 1 (A to B), while the Ist finger is moving across for the barre. Two a ALL MY LOVING ‘The 2nd finger is held down on E@ throughout Bare 6 and 7 and part of & ay in dotted line below the stave 1m Bats 11 to 12, ere is needed i go to BVM (4 Barre to Full Barre), to ensure that the Ihand:position i coreect and that therefore the ‘writ does not need to move In Bar 2 of Section 2 keep the 2nd finger held down throughout. After the Ist beat, the lat Finger fean be moving across towards @ while the nest note (open EG) is rounding but the Sed finger (om €.@) should be held as long as possible before moving tothe D on@). In Bar 5 the last note (€,@) is played with the 3rd finger, thus getting the hand in position forthe BI in Bar 6, The tempo can slow down here, and the four chords should be practised until they: melt smoothly one into the other. (In the change from the Qnd to the 3rd beat the th finger shies down@). IFT FELL, fingers (2nd and Ist) move down chet respective strings in Bar 2 From the last beat of Bar 8 into the 2nd Ending it is important that the Sed finger should slide up @) from Ffto A, thus making « rather awkward chord-change ¢asier. In this (the fist har of the Second Section) the Ist finger is lifted off @ on the Sr beat to allow the open G to sound, The lst two quavers (Fi and G) are fingered by the 2nd and 4th fingers on (, and the 2nd remains held ‘down to form part of the next chord (in Bar 2) Note that the lst chord in Bar 2 has an open string (@), while the other notes in the cord are Played at Postion X. This means that eae must be taken so thatthe 2nd sting i completely free to Sibrate. In bats 3, 4 and 5 the barre (BVI) ix held while ‘considerable work is done by the other fingers Something similar also happens on III four bars From the end,IFT FELL——— ee eee oe a8 Fal fa FERPLEASE PLEASEME te ‘cara 198 fre Wb NORTHERN SONGS LAD. 18 Dn Se enon OTASaeaie 2 arg HG aoa Sh ott mele fom tom fon a EE, = ger’ =e. ae Baan nies ght nee PLEASE PLEASE ME26 PLEASE PLEASE ME Moderately, witha smooth, even beat, Mm. d= 87,4 Bars = 11 see This piece is cary for those with an adequate % sre technique, and good practice for those who Ihave yet to achieve it ‘The Strata System works well here and should greatly help those who need it. (Wheve no diagrams Spear at various pointe im the Tat Section and Interlide, these lars axe identical with “some previous bars or portions d ‘Make sure that the left hand position is comet, and that it doesn't mose when changing to and from 14 or fall Barre, also that there is no tendericy for the hand co move when executing the snap Bat 3 of the Chorus; only the operative Sd. inge should move, he syncopation in Bars 8 to 12 may trouble some, Dut “they” should try counting in quavers (18283848), fist beeoming familie with the top ‘art (with upeurmed stems), then the bass (dove Turned), then play both parts together. There isa Fide Barre work in Bars 10 and 11, and the hand wail be ina good position for the notso-usual chord of D in Bar 12, Whichever way the right hard picks the fra 2 beats ~ whether afp a/ifp. oF ip ajm[i, avoiding sfring @) creates a slight problem. However, it i most important that these Ghords ate played clean'y, that neither @ nox p Accidentally touches (or © during the playing of tls bar, thereby either muting 2 tring oF cusin bbuez. The open Eat the end of the bar allows Tes tine ter ore ta the next ch [At the end of the 2nd Time bar the we of 4th Finger allows Singers 1 and 2 to move towards their postions for the next bar (Uke Iat bar of the midi section) “The Left-hand fingering for the lst section ie much the same as for the First, the most important Aiffeence being im the use of the Barre in bass 13.5 and 7, instead of the 34 Baste as foruerly (This is, of course, so that the E (on(@) may be included inthe chord). ht el devi _of anpepes scents sedi this chorus for variety, bt the Bint section maybe ted here ted if prctered ‘Thestast note of Bar 12 isa harmonic — played by touching string © lightly at the 12th. fret and Falslg the finger as soom as the harmonie sounds ‘Om taking the Sign the first section i not repeated ‘he Goda ie taken after 1 bars, (The first bar of the Goda may: also be used in this form in Bats 1 and $ of the Intvoduetion if preferred, abo Bar 15 Of the fret section). “The picce should finish softly, and the dots over the motes in the lst 2 bare mean that these not to be cut short, just after sounding. This is talled siaceato (For information on shortening or "damping! notes see instructions accompanying Cn’? Buy Me Love (No. 15).—_— BABYS IN BLACK Mm, =37, of 2 bars = 13 sec. Slow and relaxed. tn ff time cach bent in aplit nto three equal parts (Gee "Reading Guitar Muie”) Ie ean be considered Sila in feel to This arangement isn the hey of E there are Four sharpen the Key Signature sll Ps, C's, Gand Die ill be sharpened (execpt inbee aed to {hei “normal” pts bya Natal sign (8) nly the first section can be covered by the Strata System, and even then some hass movement (such a that in bar #) cannot be shown. However Should indicate to those with poor reading ability the exact location of the notes. The second section fe bared. almost entiely upon the same chow shapes asthe first, but with more movement in the arpeago syle. Alter the fint two beats in thar 1 very ite fand-movement required for the bree om and for the Trt two beats of Bar 2, the Sed and 4th fingers merely move “down two frets The ‘comin of Bae 2 wil est the lefthand position deed! wil be all the more difficult the guitar ‘uef not comely he. The necessary cramped Postion of the Hager, together with the need for the dth finger to mane actos from te lst DB on @ toGH on (with aelttle break im the musie a» Powsble, cequite control (Prictier and per. Scvrance with auch patages help to improve ones laying). On the last beat of Bar $ the Srl finger ie raved jst in time to piek the A and Df together mn Bar 4 the Strata System indicates the upper and middle parts but not the righthand -rpemgio ovement in dhe bass At the end of this bar there are two open motes which simplify the movement te position VIim Bar 3. The fingers are already in ponition for the nun of Sixths om the second beat. Notice the change of fingering for the second of the three {C4 A); this 8 a minor sith whereas the other wo (D3 Band GH) are major sixth The hand should then be in a good position forth chord on the lst two beats, After playing the § bar (only half as long asthe tothers) the section ie repeated, then theve is a 2-bar interlude, the fest bar of which is all done on BV (On the third beat of the following ban the movement on srg @y al the It eat the 51 fier Gt plays the Aten comes Back to yor The first six bare of the Second Section are — for the left hand — exactly the same asia the Fast Section, so that alehough the frst wo GE melody- notes appear as quavers (as do the other notes in the axpeggio) tiey actually sound through because the whole chord is held, The arpeggio (or broken chord) figure is imponeel pom the chord by the right hand no ax to create moventent and variety (This ako” applice clewhere throsighowt this Section). Observe the righthand fingering and, if possible, use Rest stroke on all melody notes. (See Chapter “Classical Guitar Technique”), Gradual slowing down of the tempo (called eft Rallentando or Ritardando) may star at aby poi ‘you feel appropriate (usually somewhere in the Seoondlast bar). The lat bar can be made slower vail, Note for those using the Stata System: in ‘addition to dats and circles, squares are te help co distinguish between Regering | ine joining brackets Levween the 2nd and Sid Hines of musie indicates chat the fst beats of both Bars Sand 6 are identicalBABY’S IN BLACK eck els pace ES +4 fT) a eon — cS ae fom ae ee ter oe (© Ccari 6A rte Wry NORTHERN SONGS LED, 12 no Ldn WARAND I LOVE HER ‘cape eh eed NORTHERN SONGS 12 nS Landaa MLE8 Fy) 20> 20206 Rie Stower Kot 9 eke ANDI LNEHERa ANDI LOVE HER (Leisueely ~ about MM approx). 5 or bart = 15 ees. A “clasical style arrangement, employing more fof the instrument's traditional forms. Te should towed. vather “rhaphodie™ a Meepl it Mectiig, Inoothly along; toa strict sega fe the cyto ‘may make it sound a bit sti, The ncopaton in bars 2, 1, 8, and 8 (not the Intron)". gen» tly ~‘ncerpetaton: rather sit In the th escent erect peste ld 6c baw tote (tng at we wold Tikes oi unt {eD rounds than have to more up to fet X for the ment melody note (Note the open ‘Dat he te of the previous bat, which enables wx to pet ack trom GIT to the “Gin the ed ay of te ere eee eee ee ae {o the nd string forthe et to melody notes, then gome back down, placing the 4th finger V on GD, and mone the hand Into the bare IL postian after sking the A. Theil apply Einilar procedure wit the 10 fet om Bom dni the prea in bar 3, but broken Steet toretain mbes ‘lone sing The B minor chord in band 6 maybe Fingere in either of tvo ways yom sings ad (5, f toad be wed fnend of § The last section is all broken up into tiplet groups and played as though in. (Actually cher is to Practical diffeence between and broken up this way), Notice that the syncopation sill occurs, ‘but is ited in exactly with the triplet fee, Don't be put off by the complex look of seis up, ‘making erotchet uiplets, and sicms doin, making quiver Gilets — the whole thing just keeps flowing steadily on. But again, pick out the melody swith Hest stroke Mont of this section ip Based on eld chor. formations; the noes wil rng theaugh a Tong the chord ished, andthe etee willbe no nesey shores may appear on apes Im the third last bar, the 2nd finger must be ited after ewo bem, the others still being held down Fiemly. This is no problem once strength and ‘dependence are achieved. LET IT BE, Tempo: Fairy slow and smooth, shout MM4= 68, 2a = 71ee This is a good study for the combination — in ‘arpegglated form — of a rescstroke followed by m and? freestroke; avo. for getting the lefchand ‘hanges clean and smooth so that no breaks occur and no. notes are left ut during change of ‘hord-formation. The tempo should be kept steady ‘throughout. Expresion it obtained by increasing and diminishing the volume, Im the 2d ba it i advimble to fe the Tat finger ‘off the Di on the Sr heat = in ense the DA should fing on and cla with the E (open()) — then puting it down again on the last beat to begin the falling base-progretsion which continues over the next tivo bat. In bar 14, im onder to preserve the timing of the ‘original, the last beat ‘employs a snap, keeping ‘riety tothe timing ofthe group (On the lst beat of Bar 16 the hand moves buck to Pos. I and the Srd finger plays the If o» (>). This rakes it easier (alter having held the DB and FB as long as porsible) to position the 2nd finger on @ for the, E (fist note in ar 17), and. then immediately form the BIV. The changing-ovee of Fingers —replicing the Std by the 4th on the C4 (@) — on the 3rd beat may require « litle work, ‘You may find it a good ides for dhe frst 8 beats in ar 24, to put down the whole E Major forgatin at the beginning of the bar; not one finger after the ‘other as and when called for ‘This solo should not prove two difficult at the above tempo, but Bar 25 requis x good ron bane, and Bars 5,7, 11, 1718-19, 20,24 and 25 ‘may require some work, (Take advantage of open strings, et, at change points) The slowingdown effet in the gon bar will eileen) belteapt imo te eeieee brat nwend_ tthe) hen back to the sry Asc at 8 ae ‘Grity of melody and smoothness of accomps ment ate important; and again: do not “serif any notes to get eianges in,LET IT BE es cc . es cP. oy = nai FEE BR OB Se ee © opt 197 fore Wn by NORTHERN SCS LTD. 12 Bn Ses, onton WX 7A,FOE FF me ail “si ore os a Po tal eet $e ozx—__i=— Grier; aie 1 ss 3 Prey Pimpin Pima cm! Lar rr eedaa 1a BECAUSEBECAUSE Mm J= 80, or2 Bars =6 sec, The Introduction can he played ponticllo to ‘obtain a similar “colour” to the orginal version This is done by simply picking the string, nearer the bridge — the closer'to the bridge the more ‘metalic the tone. In this position the fingers ofthe iit hand tend to pick across the suing at ‘g-ongles,imtead of the normal “slicing” across {nthe ciection of the right elbow. The diagrams, combined with the marked righ Ihand fingering, should help those whove reading is poor — especialy if they know the tune (On the last heat of Hat 9 the Lst-portion chord- formation can be released and the apen G played during which time the hand moves wp the finger board, playing the following mote (Bb) with the Sed flager on (@). This get us into position for the following bar. Keep the 4th finger down throughout the fit 9 bars of the Chorus ‘At Bar 7 (marked “nat”) the right hand should ‘move back Co its original position and a “natura tone produced. liar L of the Lt ending isthe same as Bar 9 of the ntroduction, but this tine we approach it from the 7th position and eo itis more convenient to ay there. However, the last two quavers (G and Mb) are best played as in Rar’ 9, Practine for smooth change in the last bar of the Ist. ending, [bearing in mind thatthe 4th inger stays on (2) and moves down a fret to FB. Repeat hit Section and take the Ist ending, The ‘bass melody is the last har of the 2nd ending and in the bar interlude should be brought. out Sealy. The Siga is thes taken and the fist 8 bars of the Chorus played again, after hich Wwe take ‘the Coda sign. In Bar 1 of the Coda the Int finger has to move Across fom the Eb on @) to Ab om sty to make the’ change over sition? lone of sine. After the Sixth (CAD) om Cand @, dhe following eo (on thes Sed beat) and (ar ets The Bb om the Lat cent mfr vt iin fe Conake ee Sbin tee nucere «OS aay same procedure, play the before pat struck, The Ist then moves down a fret and 2 and S change ating 11s important that the 2nd should remain on @) tuoving down one fret wo the Fin ar 3 at the Same Une forming BY: Daag bars 3 andthe 4th Finger_movee from G@) to () but this gute Icey owing to the mote inbetween ‘The hand is now in position for a faiely cany change into Bar 5, and the melody stays on © for this and the nexe bar. At the end of Bar 8, whit the open D is sounding, the hand moves up and plays the last quaver (D) at feet VII on @ at te same time forming BVI and the rather awkward chord in Bar 9. (Practise this ‘nui ics under comtrol). (Om the 2nd beat of Bar the Srd Ginger has to move ax smoothly as possible from toy then back a fret on All ingore mast change for the ehird in the next bar, but the slxsing down of the tempo makes this In the last ar, hold the B on if possible whilst playing the Gon ©. STEP INSIDE LOVE (Rempo — 4 bar =8 409 seen. min. J= 120 10106. ict 9 fel) Continues the process of developing the thumb as the anchor to the whole rhythm structure, Looks ‘moe difficult dha i eally i, and some soho could Stherwise manage it may be put off by the problems of reading Ihave therefore pat chord Aliagrams at most of the change points These do rot cover all of the action (as they do in preceding solos) but one would expect certain reading ability from a student with sufficient technique to play "i S0, HC you cd thin ep, we the experience to improve your reading. Even when you have memorised the solo, play it dhrough Secasionally while at the same time following the Wweiten part It is mot much ase trying to get farther than this point unless one's seading + reqromably dependable The Yebarse on I may take place atthe beginns fof Bar 5, of 2 heats later.7 STEP INSIDE LOVE38 ies) jsadury TH tt —_f—— $y. eect 7 ge 8igo ‘ ° tag aigd b ig nT ua ed egret tet tee or ar ot Fr tr Ft F Hy rositi 033) ae aaa Bee oa o—— erprart pret etn.39 HEY JUDE (The natural tempo it shout NM 4= 77, or 8 bar 26 seconds, with a strong and even S-quave {oxhebar feeling, but i may also be taken ad ft, if preferred), The introduction slarts at fet VIE sith fingers 3 and 4 on strings @ and @eeopectively. The lt String remains open, and is picked as marked ltematcly in betwcen the others im the order) DO O.® OO Owe Although the right hand picking ps pi or mpm would pethaps be easier, I have recom: mended pipm and m alternating on the Ist string. This i realy to encourage players to get ‘ued to spreading the load equally hetween / and im, and not becoming centred on any particular Fingee Throughout the first two bars the 4th finger remains a¢ fret VI on string (@) while we descend ‘ona feet ata time, In the Last half of bar two, the Ist Finger, having played G, extends a further fret to B. At bar three ‘we begin similar situation again at (11 on @)and @, but finishing on the "E* chord which starts the “The first chord — the simple chord of A may be fingered. as marked, oF if you have a strongly developed habit of using 4/5/2, you may do 10. 1 slightly prefer the former because of the CF at the end of the bar, also in the inteests of versatility Tae mm thie at length to make a point: in Aingering the picee the makita eae fo play at pouibie, withowt sscrificig musical Considerations — particularly the feeling of flowing smoothly In bar theee, move to position II (Ist finger on A, TQ), the open D then allowing to move up £0 position V to strt the rum of thids — fingered so that the Tast one jn the bar brings us ino position for the fist half of bar five. In bar five, after the simple D chord, we de a quick shift to position VII for another ran af thirds. This they are syncopated instead of being written thas: ie ie The second and thd notes of the rams are anticipated, and_ this gives a "double tempo" feeling and a sight sense of urgency to the phrase Although to many these phrases come quite naturally (especially these days when one hears ‘Hem so often), anyone who has reading problems ‘may not know how it should go until he an play ‘and vice yea. To help overcome such an impane T often suggest rewiting the phrase in leechers eral Conctan ote] eee tempo: (Can 2 34 Le Memes ¥ * icone wk ae The bass note D in brackets ix optional ~ [prefer it; but it may give trouble at Fis. also prefer bar ten to e treated as follows Again reoweting i. Pees eet MNEs Mera a4 tea 4 3 234 fate Ta bor 11 there in bre om then fll bare in bar 12, but raise the tp of the Is finger fee tote Lae tallow open()t0 sound the, wile Sil holding the FE om CD 9 fraction longer, as ‘written, All this repeats ew bas ater After this, we have the recapitulation of the first scetion, but this time we take advantage of the long notes in the melody to ornament the bass Pee rs ta Again, if in difficulty, try doubling out the time: Yalue, also adding extra barlines if i helps the bar before the last repeated section (after the first beat in position 1), the 2nd finger moves up string (@) where we move aerons the sringy, (2 phrase bated on the wellknown V-position A fhoed, starting «fret below and moving. the formation up. back, up etc in parallel, over an A. boas, open Os ‘The last four bars can be repeated and faded (or repeated and just finished at the end of the la bar) with or without dowing down, Any difficult bite should he wed as practice: material, Observe the cardinal rule of slow and fnreful practice for control. Do. not frantically repeat, nthe hope of gaining speed. Instead, you ‘will-only gain a tense, accent prone style of playingHEY JUDE ‘cer 195 fr te Wn iy NORTHERN SONGS 7D, 12 Rn St ans WAX 7AWITH A LITTLE HELP FROM MY FRIENDS {hm rte wrt NORTHERN SONGS L712 non edn WITLuast Time— Z 44 WITH A LITTLE HELP FROM MY FRIENDS (Tempo: MM 96;4 bars = 10sec.) This arrangement is the first of three which are in the Jazz idiom. Instead of each beat be into 2 equal motes (lke a clock ticking, TIT the melody is composed of quaversemiquaver This gives a characteristic bouncy feeling to the thythm, and there is frequent syncopalion which fakes the form of anceipation of the lst and 3rd teats by tying the previons somigaver to thom, 1k isa good idea to accentuate the anticipated Ist and 3rd beats where this occurs throughout the Piece mrioriy When played with the coneet interpretation it stiould sound happy and relaxed while the tempo is tol and firm. 105 2 good idea to tsp your foot Aosthebar on the beat (not phrasing with the imelody) letting the melody go free, This wil help Inter solos in which "the thumb has to play Taseinotes on the Heat while the melody follows its ‘oven independent ine ‘Not until che mide section docs the later oceut fn fact the solo is so arranged that, for the most Part the player may get used to its bouncy siyle Without the added complication of having to fit thease notes into User usnal places: on the beat. mn tae I hold the bassnote C (on @) thromghout the bar. tn bar 2 itis probably Better to form the i BBL on the 2nd eat rather than to wait unl the ah. In Bar $ accent the © on @ just before the Sed reat) and notice che hythmie effect. Jn bars 9, 11, and 13 there ie some rapid work for the Right hand, Naturally “Fingerstyle” technigue ‘cannot articulate this type of phrase with the smoothness of the plectrum; but since it it an fmsential part of the song one should work to achieve « feeling of case and control, and not the “scfling” effect that might perhaps otherwise result, Special mention must be macle of the lst chord of Bar 2 of the middle section (D755). It requires @ complete shift of position and a complete erouping of the fingers and may take some time fo get quickly and cleanly, but persistence and ‘lose attention to the order in which the fingers go down (especially that which you find best to put down fist) Peshaps you may prefer to go straight to BIil for ‘hes chord instead of waiting til the next bar Pz Inthe last half of Bar 4 of dhe mide section the low E (open @) should be prevented from ringing nto the next bar by the following means: when the RL thumb it in between @) and (@) about #0 pick the A (open @) in Bar 5, touch @ with the flesh above the mall thus stopping its vibration. OB-LA-DI_OB-LA-DA sex, mim. J= 106) bas, strongly marked and a ery even § feel. Good practice for hoth hands in “Ghordal playing: the RAH. fingering should. be ‘carefully studied. To give all your attention to the problems would be understandable but not jas you would later dscover, So start ery beginning planning. uth hands 6. uy to sustain cach note as tong as ‘earning "to overcome the inherent ramon Ph eee ove Tas whole piece; gradually achieving control ‘A syncopated acrostthe-bar passage occ 9 to 16, the bass moving mainly. wi ‘teat feel. In Bar 16 the BU a good example af the importance of correet hand- position. The fist finger should quite exslly flick across, not the 2 any movement of the hand, I is realy all in the 8-H. at Bar 17 — the Lf. just holds a series of not too-diffieult chords. (After going through it afew times you'l realise is not so difficult), Maintain a strong hold on the tempo in tars 2 ing your foot on the beat wil help.45 OB-LA-DI OB-LA-DA opi 18 fore Nc by NORTHERN SCS LD, 12 Ban het ones MIX TA46 Stee BLADE OB-LA-DA D.c_al copaCAN'T BUY ME LOVI (Suggested tempo: MM J 91, oF § bars Hf the version of With « Liltle Help From My Friends (No. 13) — and other arrangements in this series sohich eall for an independent thumb — are Well under control, this one should present few further problems. Reading should catise no trouble, if necessary, the outline of the righthan fingering may be perhaps more clearly cen by resweiting the piece at follows (thit” will also Drovide practice im the art of vriting music): ec) Tn the introduction (which is uscd several ties throughout as a device to tie the arrangement together) the best should be a strong and even 1,234 and the quaver on the 4th beat of the fils and third bars should not be played too showt = just leary separated from the following Iat heat of the next bar. ‘Throughout the whole piece there shoukd be a feeling of four equally strong driving beats to the boar, and of course the melody — whether falling 0%: the’ beat or off — must-be emphasised. (It is resumed that the tunes in this trict ate quite ‘wellknown: there is no necd fo add to the later by placing acecnts over the melodyenotes, Of the tune proper, the Ist hea ie clearly separated from the following onc, therefore I have rade a necessary change 10 4 Barre aftcr itis struck; and ‘on the 2nd beat the chord is played with the mime Teelings the formation being then taken away and the open B played. Interpret bary 8 and 7 in a similar fashion, The 9th bar should also be treated in like mane Rota euamer tease a ere ater ea eae Pires rer ec eae eee fees mae eae eee gee eee ees eS eer eee a 2eply 10 chords, containing open sing xeept in cases eheze an open string can be touched by 2 LH. finger “during the elaxation process 2. After striking the chord, veplace the Right hand fingertips on "foram Instant, belore proceeding to the mest note fr chord, This method ts effective in all situations, including those to which (I) may aleo apply For players who have complete control of ths, or any guitar style requiring an “tnvlependent thumb", a further refinement may be added, The fecling "of independence in the bass part is enbanced if ic can be given a "pizsicato"” sound similar to that of an acoustic bas, (doublebas): After the thumb strikes cach basenote it then cormes Hack to ret lightly pon the sing, ether with the flesh atthe tp but more oe, (aking base note on (as an example) coming bak to ret Uetween () and @) so that (i damped by the fs above te mal Some notes must, of course, be sustained longer than theie written aspect would suggest. These ll bbe melodynotes, such asthe GE in the second half of Bar 1, which should be held down for the ful uration aft to th nd so on; (We have already seen that in writing for the guitar one anise compromise between the sriily accurate and the expedient). Open strings are interposed in order to facilitate smooth changing from one chord ot position to ner. (once in bar 1} from the last beat of Bar 'o Bar 5, and similarly into Bars 9, 10,11, et.) Hemember that in all cases where open Qs used in thus uy i i played by m. This should then rmatie ~ requiing no thought — allowing rind complete = freedom to oncentate on the changes of postion into Bars 5,9, and 1. Some may prefer to mse RV to play the AS chon in’the fifth bar playing the enote A” on) Instead of open ©) (amd alse in ar I). tn much Carer one should povhape do that whieh comes ‘more ea thon eas one shoul he se to do vier weith equal fal, vies one does not Shayshave' chotce. The last thee bars of the picee ate played on I. The finger holds dwn seins) an), leaving the open E (@) to be played inthe laxt two bare ‘his, and the way the B13th chord ix fingered, saves movement in the change of chordCAN'T BUY ME LOVE Eas... ssi =a 4 ail] | i) y CANT BUY ME LOVE:HONEY PIE ae frienpem i, oat. Bop s 3=—_—_—__, cb ste Br. CS “Pa PP idea a amr ad yd a, Bs at 170 7% SS a HONEY AE52 HONEY PIE There ate certain similarities between this arange: ment and the previous ame; the same bouncy feng of hs ded eur aod y sent quivers, the syncopated melody frequently fa Of, the Beaty and the rhythm eifect of the Independent thumb. Howeves, whereas Can't Buy Me Love is written inthe “bluts” styl, and should have a rather relentles fourbeat feck, Honey Pie should go 4 Mlle Faster and have % smoother tworbeat feel, more in the "Twenties idiom. The sloyrest it should be taken is MM #= 113, or 8 bars 7 see The Introduction wes 4 well-known phrase from the period, which i recognised, should suggest the coreet interpretation, Ie contains short notes a “sinceato” effect gives the phrase more wigecy excitedly pushing along rather than smoothly ‘laying, back” wich would result if the notes were allowed to “spread into one another. However, since some players find rests. more Aiffeule to. read than noterluer, we may use rotevalucs sohich ll the “spaces” between the notes; thus eliminating the rests, then tapping out the thythm of the notes. This should’ (if your “timing” i correct) give you the exact feel of the phrase as played by the right hand. 1 strongly Fecommend this method of tapping out the ‘backbone” or rhythmic structure of any difficult phrase; it will help greatly to reach that very Alesirable stage were one secs. the shy structure of @ phrase at a glanee and cam then attend to left-hand problems TAP WITH HAND: ‘The left hand contributes to the desired effeet by damping, 4 description of whieh is set out in the imtructions accompanying the previous piece (No. 15) ‘These imtructions should also be studied imso faras they pertain to the special treatment re ‘quired for the melody notes. In Bare 4, 12, 215 28, a device x employed which is Tamia’ vo most players of “pleeteum” guitar but may come as a surprise to “classical Player. The rtroker between the moter of the Chords are not lo be confused with portamento, which isa satin transition in pileh from one mote into another. The effect of a true “side” in th language of plectrum guitar playing is that of “hammering” one chord into another. In the fourth bar the frst chord(s1V) is struck and, pressing the formation down Grmly, it slider Quickly to fet Vs the stillibra it sounding the chord in the new position without picking again with the right hand. The movement is quite relaxed and rhythmical — the left hand moves atthe instant the nate shonld sound — with feeling of playing alt ‘The thied beat of Bar 6 is so flagered that it allows time to get the BIL on the lat beat, In Dar 8, Sceond beat, the 4th finger extends on string te the D on feet VIL, but the chord on the next beat (GIN) only requires it to extend to Cat fret V. The slide in Bar 12 isthe same a that of Bar dsbut in the fifth bar of the middle seetion the Ist finger (BINT) does not move, vwhile the 2nd and. Sed Fingers side together from fret IV to fret V. If this would be found to be too difficult, making a Barre at the beginning of the filth bar may prove In the eighth (Last) bar of the middle setion the second chord should be damped by the Biting detion of the left hand to make i€ short and crap, In the second last har of the piece the barre ie across stings @, @: and ©.5 * F iF Ao} of aA ae ae \ TEKET TO RIDE,TICKE une © to D. This tuning gives the arrangement ‘quite 2 fall sound, with a “busy” base part (plenty ‘of work for the thumb). The Tempo should be at leat MM o= 91; oF 8 bass =21 sec. For those who haven't one already, this piece should help 0 develop a good 4 Barre, and the snaps in Bars 1 and 2 wil putt co the test “The nced for an athletie Sed finger wil be apparent in Bats 1, 2 and 3; the strong hammer required. in Har 4 further emphasises this. Fortunately these are ony two different motes to te fingered on (, (Eft Mad Gy Fret Vs and thee entse no eal fc in the “tuning 55 PTO RIDE, tn Rar 12 the Gvenote chord ie played by the Tigi and as downy the thumb seeping, al Gm orc pei ae et fre atl ar ‘ined “ling elle. The shift to the lst tdhover chocd, (AV) in Har 155, fe made easier heeawse of the similar shape of the previons chord. ‘A good hammer is required on Ist and Sr fingers atthe end of Bar 15 In the middle section, the main notes of the iclody need to he strongly accentuated, and the 2nd finger ‘fted off () and put down again ‘without disturbing the other Fingers. NORWEGIAN WOOD ‘Tempo: First section, MM #= 80 or 4 hare =9 see Second section MM 4= 110 or 8 bars = 13sec hie section (in Harmonics), MM «= 80 ‘orf ars =9 see ‘The above tempos should be close to the mark, and after practising each section separately, achieve a ‘moot transition from one to another. Naturally the tempo at the start will depend on the player — bis optimum speed when playing tremolo. (Im the development of tremolo some have Found it help. Fal to peactse the “Mlamenco” version ~ Pst, a Saote goup — after which they find. the “lawieal” tremolo easier). The simplicity of the Left-hand part should make this section an ideal “TREMOLO STUDY". “The Second Section moves along considerably faster and thould sound smooth and graceful in the upper (melody) part, while the lower part (played salnly seth the thumb) should create the neces tary thythimic deve". This iy not so difficult to achieve in Bars 13,5 ete. (with only one long amelody-note in each bar) but im Bars 2,4, 6 ete, more complicated; firm control of the left-hand problems in this seetion will give to the basspart s0 that it does mot ‘merely fall mathematically on and between the melody-notes The latter half (about 18 bare before the Hae monies start) can be a Bittle stronger — perhaps played closer to the bridge — then, 6 bars before the end, more gently; with the Ral! over the last 2 “The Third Section goes back to the tempo of the fire, oF Tremolo section. For those who are tuneertain about “artificial” hannotice let us take van example the fiw note. The Left hand (on at fret V); and in the Right han Tightly on the same string at the 19th fret (awe. 1D jets above the LAL. note), and the sting is Lift # off the string fnmediately ida is stretched afar from 1 a» possibleNORWEGIAN WOOD pamipami ete aNORWEGIAN WOOD,‘MICHELLE (Moderately Slow, with expresion) Requires quite a thorough knowledge of the finger Doar aul the ability to read well Since there is mot snich “buny" movement, 2 strong left hand is requived, with good tone: prodietion and much sostenuo. This particule applies to the Thied section, 6 bars before going back to the Sign. ‘Strong’ hammers and tiem pressure of the lefthand fingers are required to make the notes ring out; otherwise you may consider i¢ unnecessarily difficult ~ that you don't {et enough out forthe effort pat in After the introduction, Bars 5 and 6 may be given either a very rhythmic interpretation, or smoothed fout and played more blandly. (The tame cam spply to Bare Sand 6 of the Second Section), Bars $ and 4 of Section 2 require a smooth change of postion from VII to Viz and somewhat of 3 stretch up @) ‘The last Section may repeat twice oF more, the last time sloseing to 8 quiet finish. Somming up, this arrangement sequiees lefchand strength, control, correct hand position (with “vertiealty" at the fingertips), and should amply itstrate the need for the comect way of sting and holding the guitar.MICHELLE i Mee ~ sas Se i a. Neteestns er ‘Somme Web NORSHERD SONGS LTD 12 Bao Sm Lon MLA Ly &MoE a0 This solo is rather difficult, being somewhat fuller and more elaborate than 2 straightforward arrange Beat However it will be fownd that sift at the’ chord shapes around shich most of the ‘constructed keep recurring, which ing the Letthand part casier Without (I tast) any sacrifice of tariety and ment of the tune arrangement make YESTERDAY ‘out these passages in doubled 7 ‘Using this technique, che extental feeling of Bar 18 could be wi Mere correct and mechanical playing of these 6 ‘bas will wot suffice — you will have to get the feel ‘of them and express 2 spisit of easy and natural In the lst section the melody is mainly on @) the chords on the lat 2 beats of Bar 2 (in positions VI and Vil) containing open strings ‘The arrangement finishes softly with a chord in ‘natural harmonics a the 12th fet. The BossaNova Section should have a rather strict cl"; don’t be afraid of ie sounding too. st ~ it should soon settle inte am cary, integrated bassand-eeble sound From Bar 15. of this section to ite end, it has a ‘Double-tempo” feel, If seem diffien and therefore to “get the feeYESTERDAY Freely,ad Ub. + 2 sd, ! if? 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