Classical Guitar Method New Revised Edition CARL FISCHER~SCAL# SHOWING THE NOTES, AND THE EXTENT =! OF THE FIRST POSITION. ‘The figures planed over the sot nda he fingers of the Left hand, and also the ts on which they are to be placed. The open stringy are indlatod by 0 the 1 finger And feet by tthe 2 fier and feet by the ager and fet by 8 andthe a finger and ah fet bya. The fingers of the right Band are iadiatd by x for the thombsfrst Faget; v= wecond fingers wv third finger. NATURAL POSITION. ih ing |S Siag| ae | Brae: | ea See. SCALE WITH SHARPS. Sng [Sine [18 Sing [80S — [Sa toe SCALE WITH FLATS. CD2 EXERCISE WITH SHARPS AND FLATS. THE CHORDS. ‘The anon of two or more aos played simultaneously is called a Chord. Ifthe chord tobe played is composed of three fates, no mer 02 which Srings they are t be played with the tambo and 3 Se fer romped of fost ote the 84 Finger must be addy if Of fre or sx ste the hom mst play {he two or tre lowest oter by aiding Hom one Ssing tthe other and the fingers take the three fr sings. Thal all he natn af a chord may sound well its neccomary thal ie Gagers of the left and should be carved to act ss hammers be pressed om the strings {ecting the vibration of the ote stings the agers of the ght has ‘tungtintcaded fo be stuck, tad ot to be moved bul to pu th strings in matin, Chord a aways ‘ide, or layed in Arps ‘at sulicealy quick fo produce the effect of the EXAMPLES. Cork MBN Rift ANU. Hcl Nts Bet r In slow movements the chords are played, or arperroed slowly is characer withthe movemeat, which tea indicated by this, and. which Is placed before the chord. Tn quick movemeaty which aretobe aged with energy, and Teuire much souad fom the Guitar, the same sign is vted to fiat that fe Gut must be sid rapaly and wih force across the siriags which from the chor.THE BARRER. 8 ‘TheBamris made by presi the ager on two or moe sting, om the same fet. There are t40 ‘arrértheGreat and the Saal. Inthe small Bev, the ist lager stops at tw o thre sigs e the ssreat Barer te fest figesop the whcle of th sx [Link] do the gest areerwith ase, tases ‘Sry toraise the wrist, dt place the thm entirely behind the Neck ARPEGGIOS. [An Arpeggio isa aumter of sots played suctesively ia uaiform order, and which, whos united, form chords. Arpoggios are used on he Gita beeane they produce an agreeable effert othe sty iment and asst they give strngth and agility tothe ight baad, To execte the arpegzio wellDe {ere making the riage vibrate the flaers of te left hand shosld be placed a once 9 te ate or ‘ming the choré on which the arpeggios tobe played od when the laste ofthe arpeggios stack, the fingers shoul be raised to paso the next chor. This rues indicpensales ifthe fagers were to quit te aces as son us they are struck the wean of the eat chord would be esruco of ‘which each note isan esentia part, The fager of the right hand should aot touch the sregs Ou {make them vibrate; With excoption ofthe hum, as deceed on page ARPEGGIOS WITH THREE AND FOUR FINGERS. ‘Teese Arpeesion are give fr th purpose of execsing the righthand, aad to establish geserl res, hich wl serve to sow the agerngof hat baad inal snus passage, Each Arpeggo ought tbe ‘peated sever nes a suecesson and as son asthe ppl is able to execote several With ease may Snaetahe to stugy a the eight Arpt on page i withst However shsndoning he wat tose Ti ‘chords writin af the to, ere hse from Which the 22 Yolowing Arpergen are derive,* ee he .* = S| Peale F f re eee ee. : terTo facitate the say ofthe eight folowing Arpoion andthe execution ofthe left hand 1 hare writen on at per tive over each ba, the chord which sto be played Arpoggi, ax writen onthe ‘ave below. Te poil wil See ala lance, the chord componiag he Axpeggl, aad on which notes {he Hager ust be placed. The cored lines fom one chard to he other, servo show that te fags tng fru aos as changed and that he agers which pes hem mast remain uamored, " eget*© SCALES, CADENCES, EXERCISES, AND PRELUDES. ‘To facitate th ecuton of the scale it necessary thatthe fagers ofthe left handstoald beheld slficienty separated, and so placed tat they may be pt o, and taken ff the strings witout roving ‘he tan. A ogee whichis placed ae a ote, shoul not be moved batt fag the ste following, un- eos this aoteshowidbe an open string. In seals aseafing, when parsing from one note to another, the finger mt aot Be rab too quickly from the string len irate eft a the following pees at Ite pecs, care must He taken t asain the notes, as wel athe bas, a ithe other parts thiseartion ‘is secenay, ia order to ebtala a fll and harmoaios fe, KEY OF C MAJOR.a ei ee oe ea #KEY OF G MAJOR. Andantina, 5ot KEY OF D MAJOR. To fcitate the flagering ia the Seale of D Majer tis seeeary o advance the left hand wo the second ano ee pep we ch one ‘hm Do he cont ting he onthe tit tng ont fn = eo ame rtanmg te toate timate ta PyKEY OF A MAJOR.Allegretto,KEY OF E MAJOR.KEY OF F MAJOR, i — Walz, x.KEY OF A MINOR,KEY OF E MINOR. rk SeesKEY OF D MINOR.