| Introduction |
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1 | (6) |
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1 | (2) |
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3 | (1) |
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4 | (1) |
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4 | (1) |
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5 | (2) |
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PART 1 GETTING TO KNOW THE CLASSICAL GUITAR |
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7 | (52) |
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Chapter 1 An Acoustic Guitar in a League of Its Own |
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9 | (12) |
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Defining What a Classical Guitar Is (and Isn't) |
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10 | (1) |
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Knowing What a Classical Guitar Looks Like |
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11 | (3) |
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Recognizing How a Classical Guitar Physically Differs from Its Peers |
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14 | (3) |
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Beyond Physique: Identifying Other Unique Attributes of Classical Guitar |
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17 | (1) |
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Player's form and technique |
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17 | (2) |
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Musical knowledge and skills |
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19 | (2) |
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Chapter 2 Getting Ready to Play |
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21 | (22) |
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21 | (1) |
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22 | (1) |
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Supporting the guitar: Leg position |
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23 | (1) |
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Embracing the guitar: Arm support |
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24 | (1) |
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Placing your hands correctly |
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25 | (3) |
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Approaching the Strings with Your Hands |
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28 | (1) |
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Fretting the strings: Left-hand form |
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28 | (1) |
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Preparing to pluck: Right-hand form |
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29 | (3) |
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Stroking the strings: Basic right-hand technique |
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32 | (4) |
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36 | (1) |
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Adjusting the string tension to raise or lower pitch |
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36 | (1) |
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Tuning visually with an electronic tuner |
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37 | (1) |
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38 | (5) |
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Chapter 3 Deciphering Music Notation and Tablature |
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43 | (16) |
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Knowing the Ropes of Standard Music Notation |
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43 | (1) |
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The composer's canvas: The staff, clef, measures, and bar lines |
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44 | (1) |
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Pitch: The highs and lows of music |
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45 | (2) |
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Duration: How long to hold a note, what determines rhythm, and so on |
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47 | (3) |
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Expression, articulation, and other symbols |
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50 | (1) |
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Relating the Notes on the Staff to the Fretboard |
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51 | (3) |
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Relishing the Usefulness of Guitar-Specific Notation |
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54 | (1) |
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Fingering indications for the right and left hands |
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54 | (1) |
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55 | (1) |
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Taking on tablature, a nice complement to standard notation |
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56 | (3) |
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PART 2 STARTING TO PLAY: THE BASICS |
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59 | (78) |
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Chapter 4 One Note at a Time: Playing Simple Melodies |
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61 | (22) |
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Practicing Notes on One String |
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62 | (1) |
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Exercising your fingers: Strings 1, 2, and 3 |
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63 | (5) |
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Workin' (mostly) the thumb: Strings 6, 5, and 4 |
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68 | (4) |
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Playing across Three Strings |
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72 | (1) |
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Finger fun on the first three strings |
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72 | (2) |
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All thumbs again on the three lower strings |
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74 | (2) |
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Cruising through All Six Strings |
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76 | (1) |
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76 | (1) |
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Fingers and thumb, unite! |
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77 | (2) |
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Flowing through Melodic Pieces Using All Six Strings |
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79 | (4) |
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Chapter 5 Rolling the Notes of a Chord: Arpeggio Technique |
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83 | (18) |
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Playing the Notes of an Arpeggio: The Basics |
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84 | (1) |
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Working Your Way across the Strings: The Thumb and Fingers in Order |
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85 | (1) |
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Keeping it simple: One digit per string |
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85 | (2) |
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87 | (2) |
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Varying Your Right-Hand Strokes |
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89 | (1) |
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Changing the finger order |
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90 | (1) |
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Alternating the thumb and fingers |
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90 | (3) |
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Adding Harmony to Select Notes |
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93 | (1) |
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Feeling the pinch with your thumb and fingers |
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93 | (2) |
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Doubling up two fingers at once |
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95 | (1) |
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Playing Pieces with Arpeggios |
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96 | (5) |
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Chapter 6 Practicing Scales in First and Second Position |
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101 | (22) |
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Introducing Scales, the Necessary Evils |
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101 | (1) |
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102 | (1) |
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How you name them: Applying key signatures |
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103 | (3) |
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Where they start and end: A primer on positions |
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106 | (2) |
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Playing Major Scales in 1st Position |
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108 | (1) |
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The one-octave C major scale |
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109 | (1) |
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The two-octave G major scale |
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110 | (1) |
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The two-octave F major scale |
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111 | (1) |
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The two-octave E major scale |
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111 | (1) |
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The two-octave Ab major scale |
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112 | (1) |
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Playing Minor Scales in 1st Position |
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112 | (1) |
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The one-octave A minor scale |
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113 | (1) |
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The two-octave E minor scale |
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113 | (1) |
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The two-octave F minor scale |
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114 | (1) |
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Playing Scales in 2nd Position |
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115 | (1) |
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The D major scale in 2nd position using open strings |
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115 | (1) |
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The D major scale in 2nd position using all fretted notes |
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116 | (1) |
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The G major scale in 2nd position using all fretted notes |
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117 | (1) |
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The B minor scale in 2nd position using all fretted notes |
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117 | (1) |
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Applying Scales in Simple Pieces |
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118 | (5) |
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Chapter 7 Exploring Musical Textures |
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123 | (14) |
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Coordinating Contrapuntal Music: Layered Melodies |
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124 | (1) |
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Playing two melodies in sync rhythmically |
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125 | (1) |
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Opposing forces: Separating the thumb and fingers rhythmically |
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125 | (2) |
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Thickening the upper part by adding double-stops |
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127 | (1) |
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Melody and Accompaniment: Using All Your Fingers |
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128 | (1) |
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Matching rhythm between accompaniment and melody |
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129 | (1) |
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Getting creative with the flow: Two parts, two rhythms |
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130 | (1) |
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Playing Easy Pieces in Different Textural Styles |
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131 | (6) |
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PART 3 IMPROVING YOUR TECHNIQUE |
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137 | (92) |
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Chapter 8 Flat-Fingered Fretting with Barres |
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139 | (10) |
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Discovering How to Play Barres |
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139 | (1) |
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140 | (1) |
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141 | (1) |
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Practicing Barres in Musical Context |
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142 | (1) |
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142 | (1) |
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143 | (1) |
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Playing Pieces with Barres |
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144 | (5) |
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Chapter 9 Getting a Smooth Sound with Slurs and Trills |
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149 | (12) |
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Connecting Your Notes with Slurs |
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149 | (1) |
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Hammering and pulling: Exploring slurs |
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150 | (3) |
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Slurring in the context of a larger musical phrase |
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153 | (2) |
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Fluttering a Note with a Trill |
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155 | (1) |
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Playing trills on their own |
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155 | (2) |
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Practicing trills in context |
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157 | (1) |
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Playing Pieces Using Slurs and Trills |
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158 | (3) |
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Chapter 10 Coloring Your Sound with Tone-Production Techniques |
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161 | (16) |
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Creating Tones That Ring like Bells: Harmonics |
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162 | (1) |
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162 | (1) |
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Practicing harmonics in context |
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163 | (2) |
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Varying the Tone with Vibrato |
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165 | (1) |
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165 | (1) |
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Practicing vibrato in context |
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166 | (1) |
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Brightening or Darkening Your Sound by Changing Timbre |
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167 | (1) |
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Implementing tonal changes |
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167 | (2) |
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Practicing changing tone in context |
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169 | (1) |
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Tremolo: The Classical Guitar Machine Gun of Sorts |
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170 | (1) |
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170 | (1) |
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Practicing tremolo in context |
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171 | (2) |
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Playing Pieces Using Tone-Production Techniques |
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173 | (4) |
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Chapter 11 Scaling the Musical Ladder beyond Second Position |
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177 | (18) |
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Introducing Scales and Skills in This
Chapter |
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178 | (1) |
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Getting to know the higher positions |
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178 | (1) |
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Strengthening your technical skill with practice variations |
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179 | (1) |
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Playing Scales That Stay in 5th Position |
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180 | (1) |
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181 | (2) |
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183 | (1) |
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183 | (1) |
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Playing Scales That Stay in 9th Position |
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184 | (1) |
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184 | (1) |
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185 | (1) |
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186 | (1) |
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Playing Scales That Require Shifting Positions |
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186 | (1) |
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The E major scale --- one position shift |
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187 | (1) |
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The Ab major scale --- two position shifts |
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187 | (2) |
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The C# minor scale --- one position shift |
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189 | (1) |
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The G# minor scale --- two position shifts |
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189 | (1) |
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Playing Some Pieces Using Scales Up the Neck |
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190 | (5) |
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Chapter 12 Combining Arpeggios and Melody |
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195 | (22) |
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Grasping the Combination in Context |
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196 | (1) |
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Downtown: Melody in the Bass |
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197 | (1) |
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Playing a melody within arpeggios in the bass |
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198 | (1) |
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Practicing making a bass melody stand out |
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199 | (1) |
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Moving Uptown: Melody in the Treble |
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200 | (1) |
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Playing a treble melody within arpeggios |
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201 | (1) |
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Practicing making a treble melody stand out |
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202 | (1) |
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Mixing Up Your Melodic Moves: The Thumb and Fingers Take Turns |
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203 | (1) |
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Playing a shifting treble-and-bass melody within arpeggios |
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203 | (2) |
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Practicing making a shifting melody stand out |
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205 | (1) |
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Playing Pieces That Combine Arpeggios and Melodies |
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206 | (11) |
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Chapter 13 Combining Left-Hand Techniques While Playing up the Neck |
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217 | (12) |
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Layering Melodies and Using Barres up the Neck: Counterpoint |
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218 | (1) |
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Combining Melody and Accompaniment with Barres and Slurs up the Neck |
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219 | (3) |
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Playing Pieces up the Neck with Left-Hand Techniques |
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222 | (7) |
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PART 4 MASTERING CLASSICAL GUITAR REPERTOIRE |
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229 | (60) |
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Chapter 14 Playing Pieces by the Guitar Greats |
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231 | (20) |
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Getting Acquainted with the Master Guitar Composers |
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232 | (1) |
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Concentrating on Music by the Spanish Composers |
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233 | (1) |
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233 | (1) |
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233 | (3) |
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Focusing on Music by the Italian Composers |
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236 | (1) |
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236 | (1) |
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237 | (3) |
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Playing Pieces by All the Master Guitar Composers |
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240 | (11) |
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Chapter 15 Early Guitar Music from the Renaissance and Baroque Eras |
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251 | (18) |
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Getting an Overview of the Styles |
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252 | (1) |
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252 | (1) |
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253 | (1) |
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Identifying Some Renaissance Composers |
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254 | (1) |
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Traditional 16th-century melodies by anonymous composers |
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254 | (1) |
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John Dowland and other great lutenists |
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255 | (3) |
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Recognizing Some Baroque Composers |
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258 | (1) |
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258 | (1) |
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Getting a handle on Handel |
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259 | (2) |
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Playing Pieces from the Renaissance and Baroque Eras |
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261 | (8) |
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Chapter 16 The Guitar Comes of Age: The Classical, Romantic, and Modern Eras |
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269 | (20) |
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The Classical Era: Mozart's Muse |
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270 | (2) |
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Getting in Touch with Beethoven, the Classical Hopeless Romantic |
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272 | (2) |
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Letting the Inside Out with the Romantics: Brahms |
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274 | (2) |
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Dreaming with Debussy: Music Becomes Modern |
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276 | (3) |
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Playing Pieces from the Classical, Romantic, and Modem Eras |
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279 | (10) |
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289 | (14) |
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Chapter 17 Ten (Or So) Classical Guitarists You Should Know |
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291 | (6) |
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Andres Segovia (1893--1987) |
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291 | (1) |
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Julian Bream (b. 1933--2020) |
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292 | (1) |
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293 | (1) |
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293 | (1) |
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Pepe Romero and Angel Romero (b. 1944, 1946) |
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293 | (1) |
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Christopher Parkening (b. 1947) |
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294 | (1) |
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294 | (1) |
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Manuel Barrueco (b. 1952) |
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294 | (1) |
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295 | (1) |
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Benjamin Verdery (b. 1955) |
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295 | (1) |
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296 | (1) |
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Chapter 18 Ten Things to Do When Shopping for a Classical Guitar |
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297 | (6) |
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Go Retail if You Aren't 100 Percent Sure What You Want |
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298 | (1) |
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298 | (1) |
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Decide on a Price Range Before You Go |
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298 | (1) |
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299 | (1) |
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Evaluate the Construction and Workmanship |
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299 | (1) |
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Get a Feel for the Guitar |
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300 | (1) |
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301 | (1) |
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301 | (1) |
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302 | (1) |
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Determine a Guitar's Growth Potential |
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302 | (1) |
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303 | (20) |
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Appendix A Basic Guitar Care and Maintenance |
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305 | (10) |
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Keeping Your Guitar Comfortable |
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306 | (1) |
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306 | (1) |
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306 | (1) |
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Protection, both at home and on the road |
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307 | (1) |
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308 | (1) |
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Changing the Strings on Your Classical Guitar |
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308 | (1) |
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Step one: Remove the old string |
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309 | (1) |
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Step two: Tie off the string at the bridge |
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310 | (1) |
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Step three: Secure the string to the roller |
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311 | (2) |
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313 | (2) |
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Appendix B About the Online Tracks and Videos |
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315 | (8) |
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Relating the Text to the Online Files |
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316 | (1) |
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317 | (4) |
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321 | (2) |
| Index |
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323 | |
Lisainfo e-raamatute kohta