The Complete Mel Bay Method For Classic Guitar THIS BOOK CONTAINS A WEALTH OF eit [ Se Set Ld i> ti leh sya emt iel) eae Ld MUSIC FROM THE MASTERS, SELEC- TIONS FROM SUCH GREATS AS SOR, TARREGA, AGUADO, CARCASSI, BACH, PDE Lt Le esate Cc DM MG See ad Ds 34) elt od dd Cre ee ae eg far tS lec Ua Beep Internetionl AL RigiREQUIRED SUPPLEMENTS EASY CLASSIC SOLOS Easy Solos GREAT CLASSIC SOLOS Intermediate DELUXE ALBUM OF CLASSICAL GUITAR MUSIC Advanced FLAMENCO GUITAR Intermediate DELUXE GUITAR SCALE BOOK Theory SOLO FOLIO #1 Eosy GUITAR TECHNIC Technic GUITAR FINGERBOARD HARMONY Theory GUITAR ARPEGGIO STUDIES Technic GUITAR ENSEMBLES Quartets GUITAR DUETS ON GREAT CLASSIC THEMES Duets SACRED GUITARIST Solos GOSPEL GUITAR Solos MEL BAY PUBLICATIONS PACIFIC, MISSOURI 63069 { OLS vraDrvinny vww NVNNVEND3aa¥yTUNING THE GUITAR The six open strings of the guitar will be of the same pitch as the six notes shown in the illus- tration of the piano keyboard, Note that five of the strings are below the middle C of the piano nu keyboard. MIDDIEC PIANO NOTATION GUITAR NOTATION STRINGS rH StH 4TH aRO AND IST ANOTHER METHOD OF TUNING 1, Tune the éth string in unison to the E or twelfth white key fo the LEFT of MIDDLE C on the piano, 2. Place the finger behind the fifth fret of the éth string. This will give you the tone or pitch of the Sth string. A) 3. Place finger behind the fifth fret of the Sth string to get the pitch of the 4th string. (D) 4 Re (6) sat same procedure to obtein the pitch of the 3rd string. 5. Ploce finger behind the FOURTH FRET of the 3rd string to get the pitch of the 2nd string. (B) 6. Place finger behind the fifth fret of the 2nd string 10 get the pitch of the Ist string. (E) PITCH PIPES Pitch pipes with instructions for their usage may be obtained at ‘any music store, Each pipe will have the correct pitch of each quitar string and are recommended to be used when o piano is not available, :THE RUDIMENTS OF MUSIC THE STAFF: ttusic is written ono STAFF consisting of FIVE LINES and FOUR SPACES. The lines and spaces are numbered upward as shown: sm UNE, ue in ACE the une 310 SPAC rote 72ND SPACE 1st Ist UNE THE LINES AND SPACES ARE NAMED AFTER LETTERS OF THE ALPHABET. THE CLEF: THE SECOND UNE OF THE Is KNOWN AS THIS SIGN 1S THE TREBLE eee ee ene ‘OR G CLEF. (CALL THE TREBLE CLEF THE G CLEF BECAUSE IT CIRCLES ‘AROUND THE LINE. ALL GUITAR MUSIC WILL BE WRITTEN IN THIS CLEF.NOTES: o THIS IS A NOTE: e ‘The HEAD ‘A NOTE HAS THREE PARTS, THEY ARE The STEM The FLAG NOTES MAY BE PLACED IN THE STAFF, ABOVE THE STAFF, ~ 4 s <= = oe e AND BELOW THE STAFF. A note will bear the name of the line or space it occupies on the staff. The location of « note in, above or below the staff will indicate the Pitch. PITCH: the highness or lowness of a tone. TONE: ¢ musical sound. TYPES OF NOTES °o THE TYPE OF NOTE WILL INDICATE THE LENGTH OF ITS SOUND. Otis is A WHOLE NOTE, ae THE HEAD 1S HOLLOW. © = 4 BEATS DOES NOT HAVE A STEM. A WHOLE-NOTE WILL RECEIVE F FOUR BEATS OR COUNTS. THIS IS A HALF NOTE re THE HEAD IS HOLLOW. a = 2 BEATS = IT HAS A STEM. A HALF-NOTE WILL RECEIVE g TWO BEATS OR COUNTS. ~@ This 1s A QUARTER NOTE | THE HEAD 15 sourD. o = 1 BEAT -TTHAS A STEM, ‘A QUARTER NOTE WILL RE- eee CEIVE ONE BEAT OR COUNT. THIS 1S AN EIGHTH NOTE _ THE HEAD IS SOLID. = Vb BEAT IT HAS A STEM. AND. A FLAG. AN EIGHTH-NOTE WILL RECEIVE ONE. HALE BEAT OR COUNT. (2 FOR 1 BEAT)‘6 RESTS: A REST is a sign used to designate a period of silence. This period of silence will be of the same duration of time as the note to which it corresponds. WIS 1S HALF REST, NOTE THAT IT LAYS ON THE LINE. TH ——_ iis 1s & WHOLE REST, NOTE THAT IT HANGS DOWN FROM THE LINE, WHOLE QUARTER EIGHTH 4 COUNTS 2 COUNTS 1 couNT 2 FOR 1 COUNT RESTS THE TIME SIGNATURE THE ABOVE EXAMPLES ARE THE COMMON TYPES OF TIME SIGNATURES TO BE USED IN THIS BOOK. THE TOP NUMBER INDICATES THE NUMBER OF BEATS PER MEASURE. BEATS PER MEASURE THE BOTTOM NUMBER INDICATES 4 ‘A QUARTER-NOTE RECEIVES. THE TYPE OF NOTE RECEIVING ‘ONE BEAT, ‘ONE BEAT SIONFIES $0 CALIED "COMMON TIME” AND 1 SIMPLY ANOTHER Way oF pextoNarine $ THE,LEDGER LINES: i When the pitch of a musical sound is below or above the staff, the notes are then placed on, or between, extra lines called LEDGER LINES. ‘THEY WILL BE LIKE THIS: THE FINGERBOARD The vertical lines are the STRINGS. FRET The horizontal lines are the FRETS. The encircled numbers are the number of the STRINGS. CHARTS: The charts used in this book will have the VERTICAL-LINES as the STRINGS and the HORIZONTAL-LINES os the FRETS. Reading from left to right the strings will =“©@@@0008 The Correct Way To Hold the Guitar (TWO WAYS SHOWN) 1. The Left Leg Crossed 2. Placing the Left Foot ‘over the Right. on a Small Stool. THE RIGHT HAND (R. H.) THE RIGHT HAND FINGERS WILL BE DESIGNATED AS l=1 2=M 254A Thumb = P THE NAMES OF THE R. H. FINGERS ARE: (English) (ABV) (Spanish) Ist — Index 0 Indice 2nd — Middle (M)_— Medio 3rd — Ring (A) Anulor Thumb — (2) Pelaar aPlucking the Strings o THE LEFT HAND (L. H.) Place your fingers firmly on the strings directly behind the Frets.° NOTES ON THE FIRST STRING FRET 1 (OPEN) ST FRET = RD FRET 1ST FINGER 3RD FINGER m i m i m i - Slow a > 2 <>. a a o- “e@ cou oo ‘ ee ¢ COUNT: 12 12 @.4) A QUARTERNOTE (a) receiver ONE nex, i moi 4 ; i m i ee get re? ft ; T3 COUN: 1 2 3 4 Classic G. M1NOTES ON THE SECOND STRING ‘THREE NOTES ON THE 2ND STRING (OPEN) IST FRET SRD FRET 1ST FINGER —3RD FINGER l i m i m i m i m — 7 _—_5__, = — oo s &. = o—| oe COUNT: 1 2 3 COUNT:12 3 4 imim imim imimimim imim imim imim imi COUNT: 2.3 412 NOTES ON THE THIRD STRING TWO NOTES ON THE SRD STRING (OPEN) 2ND FRET 2ND FINGER }————_ oe rel A STUDY ON THE THIRD STRING i m im oi om ieomijm ipmim im im jy #t. = Sparkling Stella n = i mim i em i mo pp = SSS Se LURight Hand Study imimimim imim imim imim imim imim i mi im iimim imim imim imim imim imim in Repeat the above study until mastered. Introducing the Right Hand Third Finger (a) This sign 3 — BEATS PER MEASURE, 4 — TYPE OF NOTE RECEIVING ONE BEAT (quarter note). In THREE-FOUR time, we will have three beats per measure. The Merry Men ai im 2 n 414 NOTES ON THE FOURTH STRING aH THREE NOTES ON THE 4TH STRING (OPEN) 2ND FRET SRD FRET 2ND FINGER 3RD FINGERTHREE NOTES ON THE STH STRING NOTES ON THE FIFTH STRING ,_ STH (OPEN) = 2ND FRET = 3D FRET be 2ND FINGER 3RD FINGER Pop op oP Pp OP — er Be = | : = Ze : =16 NOTES ON (JHE SIXTH STRING THREE NOTES ON THE 6TH STRING (OPEN) 1ST FRET 1ST FINGER SRD FINGER = Wt f eH |) = aL || = aH | vn eu a aul aul! all||~ que qu eH 44 rin ay au ah qu qd era et ol! eu! ou al uy aut aTwo Solos a The following solos will be played on the 6th, 5th, ond 4th strings. Play slowly at first keeping the time as evenly as possible. Do not raise the left hand fingers from the strings until cbsolutely necessary. How Can | Leave Thee Adantino J, JesTHE NOTES ON THE GUITAR IN THE FIRST POSITION i tmii mimi mimi m pip \ 353A Study Introducing the Pick-up Note poi, om im im20 A Study By Aguado Moderato MM. @=108 A mi mi mi Pmip pmi oe ae WHEN TWO OR MORE NOTES ARE WRITTEN ON THE SAME STEM PLAY THEM AS ONE. Example By jold L. H. finger down. Never raise fingers until necessory. In the above Example, play the double notes with the first finger of the R. H., plucking the lower note, and the second finger of the R. H. plucking the top note. In the following Studies, play the lower notes with the R. H. Thumb (P) Watch the LH, fingering. fds Repeat the top notes as follows: mimi, moma and amam.Follow the Leader 2 Mal Boy i mim p ymin _ ima 8 a | 2 @ C a SHS bre er 8 7a ieee] ds foddlengeln el pa Tay G c ue us geil a Z oF z # ri aiid aa 3 ee woes co Ti im imimi imimi mimi Bplay 2M tere la Leeeer beer Ta mimjm jmimidin i memim i fez imim “77 Fe PAE eset ree £ a o 7 A Serenade MEL BAY eo f is + ee ee i eer == FS ele F ea REF frit 1 FF "Three lower notes plucked with the thumbThe following combinations should be mastered before playing the AUSTRIAN HYMN. 442 The Little Prince In the Evening By the Moonlight BLAND Are, by MEL BAY i SSS == J peo propery rere sett 4S Sas 6 SSS S55 ost Pope oo Pr? ier r See. pe - oa aS pr fer tad d= = rrr rer r - See the “MEL BAY FOLIO OF CLASSIC GUITAR SOLOS”THE KEY OF E MINOR a {Relative to G Major) The Key of E Minor will have the same key signature cs G Major. Two E Minor Scales Harmonic Melodic 2 The above scales should be memorized. dil THE CHORDS IN THE KEY OF E MINOR The Chords in the Key of E Minor are: Accompaniment Styles in the Key of E Minor Am BT Em Em Am BTA Dotted Quarter-Note Etude G MAJOR COUNT, 128348 128948 E MINOR (Harmonic) Melodic G MAJORRight Hand Technique a Hold third finger on the D note throughout. mimi —€ ce — é Pee @: cs Fe, fp pS ree Se FE PIP PP PP PE Fave * ~ ee eee 7 Ba eg The Foggy, Foggy Dew ‘Arr. by MEL BAY Andante See Mel Bay’s “Deluxe Guitar Seale Book”A Waltz By Sor = =e qata sa ipa7 A Night In Madrid A Song By Aguado mM is il LEE qh fai RS + i Thy Hy nh + ‘| | tt Hs yk in. f 7 nt AL aye He Ale Mm Ie fie S17 a The ne I! tr mall i ht at sk RP ; i pebyWaltz in E Minor 48 Conchita \e te }: Increase and diminish volume. Gavotte 4S. BACH ‘Arr. Mel Bay et PR Te wo Tpetge ft tt Tree i ptt. Allegro Moderato62 The Key of B Minor (Relative to D Major) THE B MINOR SCALES HARMONIC as bee, mst eht cher fhe gs Gite jiadl ater peepee Ere oa So ego oe fier Pine lena ee FE Etude in B Minor , 2 Fingers a& 2aé Bak 4a8 eee a a uae eer eer 1 | sat SSS —— Aah a VP Bourree (IN B MINOR) JOHANN KRIEGER Ties J 4 J <2 pet “tft re | ED ae > aTHE CHORDS IN THE KEY OF B MINOR The chords in the key of B Minor are Bm, Em, and F27. Bm ms Gojoe pp peg poe64 Allegretto Prelude in B MinorGRACE NOTES 65 Grace notes are small-sized notes, which subtract their valve from the note they precede. The technical term for the grace note is Appoggiatura. The grace note will be crossed at the end and will be played the same as slurs. When the grace note is on a different string from the principal note, pick them separately. EXAMPLES 1 and 2 Fray The Trill When a note alternates according to its value, very rapidly with a tone or half-tone above it the effect produced is termed the trill. The best produced by picking the first or principal note and slurring the upper auxiliary note. The Mordente The Mordente is a fragment of a Trill. It is indicated by the sign: wv Written, Played MORE SIGNS Tenuto (A): Hold the tone its full value. Rubato: Stolen from one tone and added to a tone preceding. Luft Pause ( //): An excagerated pause. Uusally follows a note that is held by a hold sign, (fermatal. Example: ry The Comma (9) is used sometimes to indicate an interruption in the flow of tone.THE KEY OF F will be played one half-step lower as shown. The Koy of F will have one flot. All B-notes zg E 0 THE F MAJOR SCALE (Two Octaves) 4 @! A Daily Study i ep aan S aa mi im =_== a = 5 ae - +eie imi mim; im im + eo GUITAR SOLO ‘Moderato - mi mi aS g ) tei tm Bim mig 4) pO beeps nh OP “counted & 4 psete ? fr r f 6m Jd ye re Y eae FA TF itm j im imim E+ March Majestic etl Saaet Fa ‘Arr, by Mel Bay aimim GG Ree i . APA? Leer rer Lrerurly D.8.al Fine D. S. al Fine (Dal Segno al Fine) Go back to the sign $¥ ond play to Fine (the end).Triplet Etude In the following triplet etude employ the following Right Hand patterns: imi, mim, mam, ama. 2 2 3 3 e 2 3 es ee — = = ===: ee = = > The Happy Farmer preter (rer rte? reerTHE CHORDS IN THE KEY OF F The three chords in the key of F are F, B-flat, and C7. Accompaniment Styles Common Time F Fr By o Three-Four Time o Two-Four Time cr, GUITAR SOLO Moderato RUBENSTEIN-BAYMinuet from Don Juan 6 The Music Box imi a i ts . imi yj ; — e {fr age ap ~ sefPinicam maa, Pp P if - he Im Toes Let ; LPT mi_imi # mimimi TP Ta ER 4 Hs SS aE eaelCCe ete Terk =ANDANTE 70 DC.al PF See Mel Bay's “Guitar Ensembles"THE KEY OF D MINOR (Relative to F Majer) The D Minor Scales pan SS Sas March Slav TSCHAIKOWSKY Ter freer Creer FrFe AS f = =] Sara rPrrpeete f pre ry ee 4 A+ D Tre ptt r tl er prtr peeetes 34h fd =} eritrtssr eetTHE CHORDS IN THE KEY OF D MINOR The three principal chords in the key of D minor are: Jf ]fipe pa GIULIANICaprice aTHE KEY OF A The key of A will have three sharps. (Ff, C#, and Gt.) It will be identified by this signoture: ee The notes affected by the above signature will be played os shown: yooh oS THE A SCALE ao ot 3 a Daily Drill 4 Fae. ei ees Taranto $l AMlegretto CARCASS! pie joleleayfT EE é -fit-ie Fea = Tins 77 po Por iss 3THE CHORDS IN ‘THE KEY OF A The three principal chords in the key of A are A, D, and £7 tonic sub-dom. { T SH GSE EEE Prelude imimi imiai #i ae F see's = HS tT 5 a a 2 a op tps te See the “MEL BAY FOLIO OF CLASSIC GUITAR SOLOS"° The Speedway Fast 1 4 @ GUITAR SOLO The Happy Guitarist Allegretto Sip TTR Rib rMaria 7 GUITAR SOLO e Arr, by Mel Bay Andante ANTON DIABELL! See “MEL BAY'S DELUXE ALBUM OF CLASSIC GUITAR MUSIC”78 THE KEY OF Ft Minor (Relative to A Major) Two Fi Minor Scales Harmonic Exercise The Chords in the Key of F{ Minor The chords in the Key of Fi Minor are Fim, Bm, and C27. xo Fem Bm ch +] spay abd git: @ — DEADENED STRING — Kill the 5 THE HARMONIZED SCALE GDP GO Dr ear Ga ee S | i= —s = CHORDS IN THE KEY OF E MINOR Em (EGB) Am (ACE) 4B? (BD}FRA) te) { 4 ess THE HARMONIZED SCALE mAm B7 Am (B? Em Em B7 Am Br Am Ei Andante snee® stk fet PAB Male oe LY ~ > = ee Drtge tETt poe, @ et Z £2 Ly ay n i fees ——THE CHORDS IN THE KEY OF D sca D (DFA) AT (ACH EG) 4 % G (GBD) 7 4 4 4 Sa Im atom y THE HARMONIZED SCALE A7G AT DD DA? OG AD THE CHORDS IN THE KEY OF B MINOR Bm (BDF#) 4 EM (EGB) FAT (FRAB CEE) eypenettegaa Peg ttt THE HARMONIZED SCALE FA? Bm FH7 Bm Bm FE?) Em Fe? Em Bm FY7 Bm = jy E a100 THE CHORDS IN THE KEY OF A ‘A (ACHE) D (DFRA) ‘ 2 $e EE tod-s—t! =f. = at Be ane spe im €: hl oy oo Ev (BG# BD) 4 : de = ey PP a s HARMONIZED SCALE E7 D EF A AEF D EF DA ying att CHORDS IN THE KEY OF F-SHARP MINOR n (FR ACH) Bm (BDF}) oy? (ct Bit B) oe gausttl gy gditlaggennet tt HARMONIZED SCALE Fin C#7 Fm Bu Cf7 Bm #7 r Fin cf Bm C47 Bm Fim cf7 FinCHORDS IN THE KEY OF F erat ee 1 Ot Fin poi i. | THE ARON poe: HPBpath ef THE CHORDS IN THE KEY OF D MINOR £ on (oo CER m Vv 1 v cad ae102 THE KEY OF B-FLAT The key of B-FLAT will have two flats. All B ond E notes will be lowered 2 step. THE CHORDS IN THE KEY OF prar Bb (Ub DF) 4 Fb GB) F7 (FACE) ¢ Pia fig fhe ri @ MORE CHORDS IN B-FLAT MAJOR pb @ Deaden sing @ pb @ decden sing @ vy @ Deaden Swing GS-4: +A DAILY SCALE STUDY IN B-FLAT 103 im imi its mim; pbs ypettilttreeeeteeeeell al The Poet and the Peasant VON SUPPE ‘Are, by MEL BAY port . et ef co zit ttr ctr Lo ‘ Sse aT = frat pf pl pt lps ¥ 240 r tr tT oy a dod Bb r Fiabe ded dyed do SEE MEL BAY'S “FLAMENCO GUITAR STYLES”104 THE KEY OF G MINOR (Relative to B-flat Major) The key of G Minor will have the same key signature a: B-flat Major. THE G MINOR SCALES |, HARMONIC ra zaieiebaieieeaiaze! =H joddpert eta try re BESET ed peelets fle ¢ Bee i 5 r giaphe? prettier rarer THE CHORDS IN THE KEY OF G MINOR Cm (C-E}-G) D7 (D-F¥-A-C) 4 Gm (G-Bb-D) HARMONIZED SCALE Gm D7 Gm Cm D7 a Di Gm Gm DF Cm D7 Cm Gm D7 Gan 4The Key of E-Flat 105 The key of Eb will hove three flats. They are Bh, Eb, and Ab. @ 22 @r® Ber@® @er® @er® ® @ : 5 Free 1 6 5s 6 MY ¢ 48s i THE E FLAT MAJOR SCALE The Third Position The THIRD POSITION extends from the third to the sixth frets.106 The Chords in the Key of E-Flat s(n GB) ' Ab (4s 0 Bs) 5 een v m Bb7 (B DF A) eet vin, ty Wy The Harmonized Scale 2b? ow a Be Ae OB BBD BH? Mb ip gb BL Bh BL Alla-Breve Time When Common time is to be played in a tempo too fast to conveniently count four beats, i best to count only two beats to each measure. Each half measure will receive one beat. This is referred to as “cut” time. The time signature for Alla-Breve time will be c vertical line drawn through the letter C as shown: COMMON TIME ALLA-BREVE Count: 12 3 4 THE QUARTER-NOTE TRIPLET This group of notes fff) is used extensively in modern music. Three quarter-notes will be played in the same time required by two.Caballero 107 PLEYEL ‘Arr, by MEL BAY @® plas ATR 1S tay 8 staan, ® ® o-- ®108 The Key of C Minor (Relative to El) Major) The C Minor scales will be played in the third position with the exception of the higher notes which will be played os shown THE C MINOR SCALES HARMONIC siete thee, ¢ ee === f ‘MELODIC 2-21 oats 1 rere! The following etude will be in alla-breve or cut In grade four this type of time has been explained. When playing the quarter-note triplets, divide the measures into two beats gi each set of triplets, one beat each. Etude in C Minor (Third Position) 2 3 a el a vr P~3— osPrelude eG eS ee CT Z 6 = By FEe >: a SE aie " * Fs tf f C Minor Etude in the Third Position , + rey Sapree Ef pet pe SSS SSS Seer rr re et acer cee tecs: ea a eet t x 29 een aS Prelude in C Minorwo The Key of A-Flat The key of A-FLAT will have FOUR FLATS. All B, E, A and D notes will be lowered '% step. The flatted notes are easy to remember by spelling b-e-a-d. _ O«® O-® Q® @r@© O@ EF © Or@ Qx@ © Onr@® # = == e é ogokets u ? $48 8 Gie?te % 2 69 1 6 4 The A-Flat Scale in the Third Position 4 © @ ® _@ ® Qe mo = == -F ooo ts 4 aa A Daily Scale Study in A-Flat The following daily study is an excellent etude for developing finger strength and speed in good position playing. I! should be ployed daily until the fingers tire. The amount of times should increase as the fingers become stronger. It is played entirely in the third position, AllegroThe Chords in the Key of A Flat m Ab cab oa) Dh (osx ab) Eb7 tb g BbDb) -— Ig Vz Vy Ab BT A> Db Bb Db By Ab db BLT Dh “BF Db Ab -Bb7 Ab » Ay BT | ho D> | B> D> | Bb7 4b || dy Bb7 | Do #7 | Db Ab | Bb7 Ab Triplet Etude in A-Flat (Third Position) Allegro bp — ——— a pe pee SS ———— = es xxx SSSna Waltz in A Flat JOHANNES BRAHMS Ne 2 ‘Arr. by MEL BAY - 5 ¢ 9 roe fe re @ © ® 6 @ _eo a. ® = 2 + E See Mel Bay's “Deluxe Guitar Arpeggio Studies”The Key of F Minor (Relative to A-Flat Major) THE F MINOR SCALES 113 joanne pa = & iS eee Ge, a es =a die Sass The Chords in the Key of F Minor FulF Asc) Bhar Bb Dy F) poe CECB @ ® t = ix Ty 2 3 © ol E-natural is cue for C7 chord in the key of F Minor.Nocturne ‘AGUADO < y 4 _ oa , Phy Bie pti mo te F EThe Fourth Position us ® 8) ® ® @ g a5 6 Exercise WALTZ With the exception of the open B-note*, the entire selection will be in the fourth position. 4th Pos. % * Designated by the zero (0)me Chords in the Fourth Position Major Chords Augmented a rs Fourth Position Etude Number OneHARMONIC The Key of C Sharp Minor (Relative to E Major) The € Sharp minor scales will be played in the Fourth Position except where shown g 4 © @ @ 2 SeeSe gh ee rat roe mevopie ify ® @ ie thee, ora] 7 He ? a 3 Gitte glare ora Chords in the Key of C Sharp Minor Char ee 4 t Fiat arch Hi Fs er tas 6 4 5 tae Hapery G87 (Gt BE Ue PAD 4 Spa In Uly Ve ra anise i — Vy The Harmonized Scale CEM GR? CIM FEM GR? FP 7 FEM op pty Cet OF? CEM EI Rey 7Prelude Opus 28 No. 20 FREDERIC CHOPIN ‘Arr. by MEL BAY ® ® ® Fourth Position Etude Number Three Allegro Key of A Major qécogrertemetipestaingtlin Eftreest a pectt, sa foe feeere ae fo pat —_—The Fifth Position le a ——— GuitarSolo Allegretto CARCASSLBAY ritard."70 Chords in the Fifth Position The Major Chords The Minor Chords Fi Gh Far Dby 4 4 1 Tu Illy Whe The Seventh Chords Eby EZ a”The Court Jester 121 GUITAR SOLO (Fifth Position) Andantino cancased ritard, Fifth Position Etude Number TwoThe Seventh Position 78 910 78 9 4 8 910 7,5 9 0 —— = bot Seventh Position Etude Number One (Repeat Using RH. Pottorns Shown at the Bottom of Page Three)Chords in the Seventh Position as Major br @ 1 Fr Fe Br .f 4 7 dds 24% ds 0s aide tigi tt a = = x u Diminished Augmented 4 7 4 A - roe 7 2 Seventh Position Etude Number Two =The Ninth Position a¢ pA eres eee 4 aa = = Lid . fs % “9 10 nw | 0 nw 9 0 ow go ue Ss a ® © ® 2) ) Ninth Position Etude 2 _ Etre, Eftes Pee Allegretto Matamoras 222 ENED ae Pus. a i ? 2 iTf]) HOR ddyy vy dd #01 z ata rip ep ett s2a p02 Dan mame In rat a RR OT 2 Qe aR) yas aN lad EE ge BRE = a eee vr F ror roe ¥ ap tdes £207 ‘eid dads MtJ dads GT r 2 7 F pts FD Z = RTChords in the Ninth Position ee Major Fe ab Dy af s 3 b, Ez Gr ay b Diz br Vil Diminished Augmented Bese | Garis dak a3 Ninth Position Etude Number Two — fe ae tt ftee., £126 THE KEY OF D-FLAT The key of Dp has five flats. They are Bb, Ep, Ab, Db and Gb. Db bF As) or ® 4 Spe A: f : i a1 v 4 2 pe Og oer ne qf == u 1 x I v Ab7 (AbC EbGS) Ps @ , ® | ® . a £ i 2 : 4 = = 4 = Psa on Pin127 The D-Flat Scale in the Sixth Position Recreation Play the following study with a steady even beat keeping it entirely in the Sixth Position. Employ the Four Established RM, Finger Patterns.Theme from the “Minute Waltz’ FREDERIC CHOPIN ‘Arr. by MEL BAY Slower 1 @ abe Abs: 4 Classic G. M. IllTHE KEY OF B-FLAT MINOR ie {Relative to D-Flat Major) The B-Minor Scales HARMONIC t 2 filter i | The Harmonic Mode in Position VIpos. Vpos. Zhe 2130 The Chords the Key of B-Flat Minor BbM (Bb DLE) § EbM(EbGs BY) Seer + FE + 4 Te FIFACEY Spa The Harmonized Scale Bow Fr BM 1 Fo Eb Fr Bow BPM py ay pe yy BM Fo poy Chord Etude Bb Eby Fr tte Bow EbM Fy Boy “ae Prelude in Bb Minor 3 rots sot ae saePosition Etude in Bb) Minor nS) GuitarSolo MeL BAY aM Lento wal A Bae aM oo SSS 7 oF = 4 - gaat ae # z BM mm SS a132 THE KEY OF B MAJOR The key of B has five sharps. They are: Ft, Cz, Gt, Dt and Az, a a The B Major Scale (First Position) -12h22 23 hat ba eer The Chords in the Key of B EtEGtB) ri Ried 1% ‘ » if x j = a Mt . zThe Harmonized Scale BoE py g FB B B OFT Prelude in B Major 2nd Pos. 3rd Pos. Ast Pos. =e IM 2nd Pos. gr. barrer. st Pos. 4th Pos. small barrer. ai a, - Ast Pos. gies Se e ee Iz Etude For complete results play the following Etude in the First, Fourth and Sixth Positions, f+i THE KEY OF G-SHARP MINOR (Relative to B Major) The pane Minor Scales MI pos. oa “ul euhlie The Chords In The Key of G-Sharp Minor GEM GHB DB) Cece & GH) dig £ watt dor Te rae DET (DE Fs Ag CD 4th Pos.The Keys of F-Sharp and G-Flat Major ‘They key of F-Sharp has six sharps. They are: Ft, Ci, Gt, Di, Att and Et. The key of G-Flat has six flats. They are: Bh, Eh, Ab, Db, Gh and Ch. THEY ARE ENHARMONIC KEYS AND WILL BE DEVELOPED TOGETHER. The F-Sharp and G-Flat Scales in the First Position Etude in the First Position (Play both keys) é gaer ; wee136 FA Cay a8 cH) The Chords in the Keys of F-Sharp and G-Flat Major a (BoE) ee Gb (a Bh Di) nae este DEbGH) ppt ii 73S LL Gy if fF =3t =a + - + greeted po a te iy Db2 (ob F Abc » 2) 1, g _ i _£¢_¢ | Harmonized Scales B oCi7 Fh OF cay a tt 8, a 3 phy Gb | Gb nie ch | Dbz Bch opThe F-Sharp and G-Flat Scales in the Sixth Position 197; VI Pos. The F-Sharp and G-Flat Scale in Three Octaves 2 Vipos. a Se I pos. 13 4 3 1 44 gg 18 4 ® 12 raala ‘ 4 VI pos feh2138 The Keys of D-Sharp Minor and E-Flat Minor (Relative to F-Sharp and G-Flat Mejor) The Harmonic Mode D# MINOR . st Eb MINOR The Melodic Mode x oh CHORDS Das (onFL As) Gis (c4B D4) 1 [Ty Ebs (Es Gs Bs) i 1 | pee pote mee 4S f- 1 Tin Vee APT (AE CHRIGH) . al eye 2 Bb7 (BD FAs) The Harmonized Scale per ANT yy ca Ay OM Eom Ab | BIPRELUDE IN D-SHARP MINOR We ere fetes 3d Pos. 24 Pos. ae oo oan, fin oo Po 7 ied ae : oi | Cae we i WITCHCRAFT GUITAR SOLO (MEL BAY Lively vip. Ft ays sae 1 @ a ey 2 2 O@ ® OOO Ql? Vtpe8 . Dee Diw At7 @o® we, III pos. in ct p ci Ft VI pos.“ Flower Song GUITAR SOLO fe by MEL BAY Lento moderato \r. & (7d am 455 i —— x E Fi = Pe a= cantabile ___——— [2 e oe Cee meio oH She 0 Se 4 Thats ritard. a tempo ‘ NRT Oba _— __ _ u oe Sam = =I e — ia iF - $ + ’ ritate. an > Ss vitard. | See Mel Bay's “Johnny Smith Approach To Guitar”WONDROUS LOVE uA Tune 6th String Down To D EARLY AMERICAN HYMN Arr. by Bill Bay ‘ial Harmonics Artifical Harmonies will eneble the guitarist to play all notes on the guitor harmonically. They are per- formed in the following manner. 1. Place the fi ger of the left hand on the note desired. 2, Place the index finger of the right hand lightly on the string of desired note 12 FRETS ABOVE NOTE TO BE PLAYED. 3. Pluck the string quickly with the Right Hand Thumb stopping the tone with the pointed index finger.142 BLESSED ASSURANCE Tune 6th String Down To Low D FANNY CROSBY ‘Arr. by Bill BayTo A Wild Rose 143 ae EDWARD MACDOWELL With simple tenderness ‘Arr. by MEL BAY Andante mn Chn ss Pa Bm Bing 9 A dim (Att) Vibrato n aD ©@O eH HOLD CHORD Ritard - Bm 4 7 4 Bo vl : : An na chm Slower aM4 LET ALL MORTAL FLESH KEEP SILENCE Tune 6th ‘Advent Hymn String to D Arr. By Bill Bay. wid J gf day & 7 a Sw as = fo Fe ? (pods nan F a LAPPEENRANNAN LAS EFS WAAKUNTARIRJASTOGLABSIG GUITAR METHOD! CLASSIC GUITAR METHOD II GLASBIG GUITAR METHOD Ii EASYWAY QUITAR "A" EASYWAY GUITAR “8 EXSYWAY GUITAR “C* GUITAR CLASS METHOD VOLUME TWO ‘GUITAR WORKSHOP JUNIOR GUITAR COMPLETE MODERN METHOD FOR GUITAR MODERN GUITAR METHOD I MODERN GUITAR METHOD I MODERN GUITAR METHOD I MODERN QUITAR METHOD MODERN GUITAR METHOD V MODERN GUITAR METHOD VI MODERN GUITAR METHOD VII PRIMER COMPLETE METHOD FOR CLASSIC GUITAR 'BASS GUITAR GHORD CHART DELUXE ELECTRIC BASS CHORDS ‘DELUXE GUITAR GHORDS. ‘GUITAR CHORDS GUITAR CHORD CHART MELODY GUITAR CHORDS RHYTHM CHORD SYSTEM PEDAL STEEL GUITAR CHORD CHART ‘GUITAR CHORD WALL CHART FUN WITH ELECTRIC BASS. FUN WITH GUITAR FUN WITH STRUMS — GUITAR "THE COMPLETE GARCASSI ‘ELECTRIC BASS VOL. | ELECTRIC BASS VOL.2 JUAN SERRANO/FLAMENCO GUITAR, PEDAL STEEL GUITAR STEEL GUITAR METHOD VOL.1 ‘STEEL GUITAR METHOD VOL. 2 "AMERICAN HISTORY IN SONG. ANTHOLOGY OF FINGERSTYLE GUITAR ‘AUTHENTIC BLUEGRASS GUITAR IBASIC FINGER STYLE GUITAR (CHET ATKINS —OFF THE RECORD GHORD STRUMMIFC GUITAR ‘CONTEMPORARY SLIDE GUITAR (COUNTRY BLUES GUITAR, COUNTRY 008R0 GUITAR COUNTRY GUITAR PICKIN" COUNTRY RAGTIME GUITAR DELUXE BLUEGRASS/FLAT PICKING GUITAR METHOD ‘DUELING GUITARS. £Z BLUES QUITAR SOLOS (EZ WAY BLUEGRASS GUITAR SOLOS EZ WAY PICK & STRUM GUITAR, FLAT-PICKIN' GUITAR STYLES FOLK GUITAR STYLES. GUITAR TUNINGS & SOLOS LEARN'TO PLAY BLUEGRASS GUITAR, (MERLE TRAVIS GUITAR METHOD. TWELVE STRING GUITAR STYLES 1SAROOUE GUITAR MUSIC Best OF CARUCLL BEST OF GIULIANI ‘BEST OF SOR DEST OF TARREGA CLASSICAL PERIOD GUITAR MUSIC MEL BAY PUBLICATION: ‘SELECTED GUITAR 90108 BOLO FOLIONS. | 3010 FOLIO NO. 2 BOLO GUITAR. TONY MOTTOLA GUITAR STYLES ‘BASS GUITAR IMPROVISING BLUES GUITAR STYLES. BLUES LEAD GUITAR METHOO EZ WAY BOOGIE # BLUES GUITAR EZ WAY ROCK QUITAR NEW SOUNDS FON ELECTRIC BASS: ROCK GUITAR IMPROVISING ROCKIN RHYTHMS FOR YOUNG GUITARISTS, Base GUITAR POSITION STUDIES PLAY BASE FROM CHORDS: DELUXE GUITAR ARPEGGIO STUDIES DELUXE GUITAR SCALE BOOK. GUITAR TECHNIC ‘SRZZ GUITAR VOL. 1 Azz GUITAR VOL 2 SOHNNY SMITH APPROACH GUITAR | SOHNNY SMITH APPROACH QUITARIL DELUKE GUITAR CHORD PROGRESSIONS: (DELUXE GUITAR PRAISE BOOK ‘GOSPEL GUITAR ‘GUITAR HYMNAL SACRED GUITARIST HYMNS FOR CLASSIC QUITAR CHILDRENS GUITAR HYMMAL EASYWAY CHRISTMAS GUITAR QUITAR CHRISTMAS CAROLS. TONY MOTTOLA HOLIDAY GUTTARS. ‘SOUNDS OF CHRISTMAS FOR GUITAR {00 EZ FLATPICKING GUITAR SOLOS EZWAY-HOW TO TUNE A GUITAR EZ WAY FINGERSTYLE GUITAR 30.08 EZ WAY COUNTRY STYLE GUITAR, GEORGE VAN EPS “HARMONIC MECHANIOMS FLATPICKING GUITAR SONGBOOK THE ITURGICAL GUITARIST GUITAR SCALE & ARPEGOIO CHART ROCK GUITAR CHORD CHART CHORD STRUMMIN' SONGS FOR GUITAR, ‘ADVANCED ROCK GUITAR STUDIES RICK FOSTER HYMNS FOR CLASSICAL QUITAR RICK FOSTER MORE HYMNS FOR CLASSICAL GUITAR. {AZZ GUITAR LINES TALE GUITAR SCALES [ART OF SOLO JAZZ GUITAR HARRY VOLPE MASTER CLASSICAL GUITAR COLLECTION DELUXE ROCK QUITAR METHOD ‘GRADED GUITAR OUETS. HOWTO PLAY GUITAR IN A B1@ BAND DEVELOPING MELODIC SIGHT READING TECHNIQUE VOR MAIRANTS” COMPLETE GUITAR EXPERIENCE JUAN'SERRANO CONCERT FLAMENCO SELECTIONS. YOt ROGK GUITAR LICKS. 101 FINGERSTYLE GUITAR LICKS: FIDOLE TUNES ANC BREAKDOWNS ron DOBRO GLAGBICAL GUITAR DUETS IN 1ST AND 2ND POSITIONS ‘GLASSICAL GUITAR SOLOS IN TST AND 2ND POSITIONS. BELUXE AZZ AND ROCK BASS METHOD