Musica En Un Libro

This book has been specifically designed to accomplish two things...
#1.

To teach the student to READ music.
Reading "crutches" have been eliminated as much as possible.
Fingering and counting indications have been kept at what I consider a sensible minimum.

#2.

For the gradual development of dexterity in BOTH hands.
This is the physical part of learning to play the guitar and assuch cannot be rushed. Practice all material slowly enough
to maintain an even tempo. Do not skip or "slight" anything,
and also do not attempt to "completely perfect" any one lesson
before going on. Playing technique is an accumulative process
and you will find each time you review material already studied
it will seem easier to play. (Slow, steady practice and constant
review willeventually lead to speed and accuracy.)

I should like to mention at this point that all music presented for study on
these pages is original and has been created especially for the guitar. EACH
composition has been designed to advance the student's musical knowledge
and playing ability, and yet be as musical as possible. There is no studentteacher division in the duets. Both guitar parts are writtento be studied
by the pupil and almost all parts will musically stand alone.
I have not included any "old favorites" as guitar arrangements of these songs
are available in many existing publications. (Also, you do not learn to R E A D
music by playing melodies that are familiar to you.)
I have not tried to make this book into a music dictionary by cramming it with
pages filled with nothingbut musical terms and markings as it is considerably more important to give the student as much music to play as possible.
(The most common and necessary terms and markings are, of course, used
and explained... If further information is desired, some very excellent music
dictionaries in soft cover editions can be obtained at a small cost.)
I do feel, however, that with this method, (as with allothers) you must search
out additional material to practice as your ultimate ability depends entirely
on how much reading and playing you do.
So good luck, and have fun. ...

y)

Continued on next page

TIME SIGNATURES: Next to the clef sign (at the beginning of a composition) are
found two numbers (like a fraction) or a symbol which represents these numbers. The top number tells howmany
beats (or counts) in a measure, and the bottom number
indicates what kind of note gets one beat.

" READ" the notes, NOT the fingering, as these
numbers will eventually be omitted. . . .

. . . . . . . . . Starting o n C one O CTAVE h igher than C f ound o n the
5th string, we complete the UPPER REGISTER of the 1st position

Note And Chord Review
(Regular review of allmaterial is a must!)

" LEDGER" lines are added below or above the staff for
notes too low or too high to appear on the staff. . . . . .

Rhythm Accompaniment
BASS NOTES AND CHORDS
All chord symbols (names) appearing as only a letter are assumed
to be MAJORchords. A letter followed by the numeral "7" represents
DOMINANT 7th c hords. A l etter f ollowed by a small "m" are MINOR

(Do notskip or "slight" any lesson material)

( Review of all material is a must)

( EIGHTH NOTES. . . counting and picking )

First Solo
Solo arrangement. . . with melody AND accompaniment.
BE SURE TO HOLD ALL NOTES FOR THEIR FULL TIME VALUES

T here are two ways to pick consecutive sets of Triplets.
Practice the entire exercise thoroughly, using first the
picking markedTYPE 1. . . then practice using TYPE 2. .

REVIEW ALL MATERIAL

( Relative to C Major)
The sixth "degree" or note of any major scale is the "tonic" or 1st note,
of its "RELATIVE MINOR KEY". The major and relative minor key signatures are the same. There are 3 different scales in each minor key. . .
A - N A T U R A L MINOR (All notes exactly the same as its relative, C M a j o r )

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