First Notes (Classical Guitar Study)

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3

© Strings Attached Music



4



5

Page

4. Foreword

6. The open strings7. Lesson 1. First three open strings11. Lesson 2. The three bass strings18. Lesson 3. Preparing the left hand fingers21. Lesson 4. First tunes

25. The bass notes on strings 6-5-429. Review of all notes covered30. Lesson 5. First tunes revisited37. Harmonising with open notes41. Waltz. (Carulli)42. Andante in C Major (Carulli)43. Lesson 6. The key of G Major44. Scale study in G Major46. First chords. Harmonising in 3rds48. Introducing two new sharps49. Two short scale studies51. Scale review All notes in first position52. First tune using G sharp Malaguena54. Short arpeggio study 155. First study in C Major (Carulli)56. Study in C (Sor)57. Arpeggio study 258. Moving from 1st-3rd position60. Waltz (Aguado)61. Final Part62. Waltz in C Major (Carulli)64. Allegro No. 13 (Giuliani)65. Conclusion. Final part66. Andante in A minor (Carcassi)68. Romance (Molino)70. Reference page - Musical signs71. List of composers

Contents



6

Each string on the guitar has a named note; these notes are not so easy to remember in theearly stages as the open strings do not appear to be in logical alphabetical order (i.e. a b c ...)although at a later stage when we form a scale they will make alphabetical sense.

To give the strings and notes more meaning and to make them easier to remember, it is oftena good idea to give each string an image: images have a greater impact on the imagination andthe memory than words do.

You may want to make up your own 'Nemonic', below is an example:

The 6th string (the thickest) (E) ElephantsThe 5th string (A) AndThe 4th string (D) DonkeysThe 3rd string (G) Grow The 2nd string (B) BigThe 1st string (E) Ears

There are two basic techniques that need to be addressed before starting the exercises:

THE REST STROKE: (apoyando)THE FREE STROKE: (tirando)

The 'Rest Stoke' or (Apoyando) is a method of plucking the strings to produce a roundedprominent sound: This technique is the first and most important concept that is sometimesoverlooked in the early stages. Place the fingertip on the open E string and play the note bringingthe finger to rest on the next (B) string.

The 'Free Stroke' or (tirando) literally means to play the notes in a free flowing way with the righthand fingers being relaxed and not curled under; the wrist of the right hand should also be relaxed

with a slight arch, think about what action this arch produces: If the hand is flat, the result will be

that the fingers will point away from the strings: Create an arched wrist and the fingers will bepoised above the strings where we want them to be.

Right hand fingers will be indicated as follows:

English: Spanish:1st. Index Indice - (i)

2nd. Middle - Medio - (m)3rd. Third - Anular - (a) Thumb - Pulgar - (p)

THE OPEN STRINGS



Lesson 1The Top Three Open Strings:

The First String

The first note on the first string is E.4/4 indicates the number of beats in each bar

0

E

Thick string (6th) >

The open (E) on first string >

fret 1

0 0 0 0 0

E

0

1

Play these open notes using 'Rest Stroke' and say them out loud.Count or tap out the beats 1. 2. 3. 4........ simile - (proceed in the same way)

0

Ei

The 'Rest Stoke' or (Apoyando) is a method of plucking the strings to produce a rounded prominent sound:This technique is the first and most important concept that is sometimes overlooked in the early stages.Place the fingertip on the open E string and play the note bringing the finger to rest on the next (B) string

(Important reminder)

1

m

2

i

3

m

4 simile.....0

i

m

i

m

0

i

fret 2

fret 3

fret 4

m

i

m

4

0

i m i m 0

i m i m 0

i m i m 0

i

Repeat signs

m i m

7



The Second String

0

B

B

The open (B) on the second string >

0 0 0 0

B

0 0

1

As with the first exercise, play these notes using rest stroke:Repeat using (m) (a) fingers, count and name the notes.

The first note on the second string is B

0

i

1

m

2

i

3

m

4 simile.......0

i

m

i

m

0

i

m

i

m

0

i

fret 2

fret 4

fret 3

fret 1

m

i

m

5

Repeat this exercise using fingers (m) (a)

0

i m i m 0

i m i m 0

i m i m 0

i m i m

8



The Third String

The first note on the third string is G

0

G

0 0 0 0 0 0

G

1

0

1

G

i m

2

i

3

m

4 simile.......

0i m

i

m

0i m

i

m

0i m

i

m

5

Repeat this exercise using fingers (m) (a)

0i m

i

m

0i m

i

m

0i m

i

m

0i m

i

m

1

All three strings, name the notes aloud

0

i

E

1

m

2

i

3

m

4 simile.......

0

i

m

i

m

0

i

B

m

i

m

0

i

m

i

m

5

0

G

i m

i

m

0i m

i

m

0

i

B

m i m 0

i

E

m i m

9



1

Open String Exercises On All Three Strings

All three strings: Name the notes out loudkeep your eyes focused on the notes (not the names of the notes above!).

0

i

E

1

m

2

i

3

m

4 simile.......

0

i m i

B

m 0

i m i m0

G

i m

i

m

5

0

G

i m

i

B

m0

G

i m

i

m

0i m

i

B

m 0

i m i

E

m

9

0

i

E

m

i

m

0

i

m

i

B

m

0

i

E

m

i

B

m

0

G

i m

i

m

13

0

i m

i

m

0

i

B

m i m0

G

i m

i

B

m 0

i

E

m i m

10



Lesson 2

The Three Bass Strings

0

This is how the three bass notes look on the staff: Play the exercises below with thumb (p) Pulgar.Name the notes out loud as you play.

E0

E

A 0D

0 0 0

D

E A D

1

0

10

20

30

4 simile.......0

A

0

4

0

E

0 0

A

0 0

D

A

E

A

D

A

8

0 0 00

12

0

0

0 0 0

11



1

Lesson 2 (con')Combining Bass & Solo Strings

Open string exercises putting bass & treble strings together

E

E

B

5

E

G

B

9

A

13

A

G

17

D

B

21

G

12



This note > w is called a semibreve or full note and receives a count of four:

1

2 3 4

1

Play these notes using rest stroke:

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

5

1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

14



1

Bass & treble strings con'

Make sure you use correct fingering with these open notes:Play slow and evenly

Play these notes using 'Free Stroke'

p

i

m

a

p

i

m

a

p

i

m

a

1

p

i

m

i

p

i

m

i

p

i

m

i

5

These exercises will not make much musical sense at this stage: They are the ground work on which

we will be building on: Be patient and learn these patterns thoroughly and the benefits will tell when we bring the lefthand into play on page 21.

p

i

a

m

P

i

a

m

P

i

a

m

15



1 2 3

Introducing a new time signature:

1

(quaver rest)

This new note > e is called a quaver: two quavers > iq = 1 > q crotchet:

Introducing a new note and its equivalent rest

2

1 + 2 + 3 +

The quaver in 3/4 time:

3

1

2

3

The rests are not played but are counted

Introducing the crotchet rest

1

1 2 3

1 2 3 + 1 2

3 1 + 2 + 3

5

1 + 2 3

1

2

3 + 1

+ 2

+ 3

+ 1

2

3 +

9

1

2

3 + 1

+ 2

3

1

2

3

p

1

i

+

m

2

a

+ 3

simile....

+

13

1 + 2

+ 3

+ 1

+ 2

+ 3

+ 1

2 3

1 + 2

+ 3

+

16



Lesson 3Preparing the left hand fingers

Play these notes rest stroke:Play the notes with the finger tip placed behind the metal fret:Place right hand thumb on 6th bass string to add stability:keep (i) (m) fingers fairly straight, don't bend or curl inwards

Learning the first three notes on the first string: E. F. G.

First finger (index) on first fret.Third finger on third fret.

0

i

E

m i m 1

i

F m i m 3i

G m i m1

i

Open E >

m

F

G

0

0

i

E

1 - fret 1

3 - fret 3

fret 2

5

0

i m i m 3i m

1

i m0

i m i m i

9

3m i m i 1

m i m i 3m i 1

m i 0

m

13

0

i m 1

i m 3i m

0

i m

18



1

The second (B) string

Learning the first three notes on the second string: B. C. D.

Use first and third fingers.

A (B) note can also be played by holding a G string down on the fourth fret

0

iB m i m 1

iC m i m 3

iD m i m

Open B >

iB

D

C

B

0

fret 1

fret 2

fret 3

fret 4

5

0

m i 1

m i 3

m

D

i1

m i 3

m

D

i1

m

C

i m

B

9

3

i

D

m i m1

i m i m 3

i

D

m1

i

C

m0

i

B

m

1

Playing the six notes over two strings:

0

i

B

m

i

m

1

i

C

m

i

m

3

i

D

m

i

m

i

E

m

i

m

5

1

i

F m i m 3i

G m1

i

F m i

E

m3

i

D

m1

i

C

m0

i

B

19



1

The third (G) string

Learning the two notes on the third string: G. A.

Second finger off left hand on second fret.

Play the (A) note with 2nd fingerCount out the notes as you play: 1, 2, 3, 4.......

0

i

G

m

simile..

2

A

0

Open G >

2

2 A

G

0

fret 3

fret 2

fret 1

5

0

i

m

2

i A

m

0

i

m

2

i

1

0

i

m

2

simile..

A

0

B

1

5

3 1 0 3

9

1 0

B

2

A

0

20



1

Andante q 100 (see reference page 70 for expression signs)

Jingle Bells

Lesson 4First Tunes

English Trad:

Play rest stoke to bring out the melody keeping thumb on 6th string bass

We are now ready to start making music with the notes learned so far: We will later build onthese simple one-string melodies making them full-sounding by harmonising the melody lines.Play these tunes slowly keeping the timing even: Don't start off quickly with the first two bars

because they are easy to play, then slow down and fumble your way on bar 3. Count the note valueas you go along keeping the whole piece even.

0

1 2 3 4 1 2 3 4 1 3

21

3 3

4 0

1 2 3 4

5

1

1 2 3 4 10

2 3 4 13

2 3 43

1 23

3 4

9

0

1 2 3 4 1 2 3 4 1 32 1

3 3

4 0

1 2 3 4

13

1

1 2 3 4 10

2 3 4 3

1 21

33

41

1 2 3 4

21



1

English Trad:

Largo q 80

Good King Wenceslas

As with the preceding Christmas carol, the idea of playing these one-string melodies is togain practice in using the rest stroke: 'Largo' means fairly slowly. The tunes at this pointare less important than getting the timing and technique right.

1

i m i 3

m1

i m0

i

2

m

0

i

m

i 1

m i

5

3m

1

i m3

i m3

i1

m 2

i

0

m

i

0

m 1

i m

9

0

i

m

2

i

m 1

i m 3

i 3m

1

i m i1

m 1

i 1

m

22



1

Allegretto q 100

Au Clair de la Lune

French Trad:Translates to 'By the light of the moon'

Count as you play the notes:

Be sure to play the minims & full notes for their full value

Play rest stroke alternating fingers (i) (m)

1

1 2 3 3

4 0

1 2

3

3 4

1

1 0

23

3 41

1 2 3 4

5

3

1 2 3 42

1

2 3

4

3

11

20

3

2

4

0

1

2 3 4

9

1

1 2 3 3

4 0

1 2

3

3 4

1

1 0

23

3 41

1 2 3 4

23



1

American Trad:

Yankee Doodle

Introducing our first quavers and a tied note:

0

11

+3

This is a tied note: the first note is played, the second note is counted but not played

2 3 43

1 0

21

3 4 1 2 3 4

0

11

+3

2 3 4

5

3

1 21

30

4

1

2

don't play this note

0

3 + 4

1

1 2 3

3 0

4

8

1

1

0

2

3

3

0

4

1

1

2

3

3

0

4

1

1

2

0

3

0

4

1

1

2

3

3

0

4

12

1

10

23

31

40

1

0

2

2

3

4

1

1 2 3 4

24



1

Part 4 The bass notes on strings 6-5-4

Notes on the 6th string

The four tunes that we have covered so far will be re-visited later. The choice of these tunesare not unique and crop up in other books of this kind. The reason for this is that they arepopular well known traditional pieces. The problem with these tunes and many others like thesethat are written in a one line melodic form is that after the initial feeling of being pleased aboutplaying any kind of tune has worn off the pieces have a limited shelf life in terms of personalsatisfaction. The reason for this is that the tunes are really just a sketch of the of the real thing,rather like picking out a one fingered tune on a piano or any other kind of instrument. Not very interesting to listen to or satisfying to play.

To get over this and go beyond the one line melody, we need to look at ways of turning these tunes

into full sounding pieces that provide their own accompaniment that can stand alone: This is the'classical style' of playing that requires working on the bass parts and harmonising the upper voice.

We will begin by extending the bass notes covered in Lesson 2 into a full scale that covers all thenotes that we will need in the first position. It will take time and a lot of repetition before youreyes become familiar with these new notes, probably the hardest notes to memorize in firstposition: Be patient and set a short goal of learning these first three notes before moving on to thenext string.

3rd finger - fret 3 >

1st finger fret 1 >

0

First three notes on the 6th stringNaming the notes out loud will help in memorising

G

F

E

1

F

3

Open E

G

0

fret 2

fret 3

fret 4

25



1

First three notes on the 6th string (con')

0

1

E

2

3

4

1

1

F

2

3

4

3

1

G

2

3

4

0

1

2 3 4

5

0

Using crotchets

1

E

2

1

3

F

4

3

1

G

2

1

3

4

0

1

2

1

3

4

3

1

2

1

3

4

9

0

Using minims

1

E

2 3

4

1

1

F

2 3

4 1

G

2 3

4

0

1

2 3 4

13

0

Using quavers

1

E

+ 2 + 3

+ 4 +

1

1

F

+ 2 + 3

+ 4 +

3

1

G

+ 2 + 3

+ 4 +

0

1

2 3

4

17

0

combining crotchets & quavers

1

E

1

1

2

F

3

G

1

4

0

1

+

1

2 +

3

3

1

4

0

1

1

2

3

3

4

1

1

2

0

3

4

21

0

Using full notes

E

2 3 4

1

1

F

2 3 4

3

1

G

2 3 4

0

1

2 3 4

26




0

A

2

B

3

C

fret 1

0Open (A)

1

0

Using crotchets

A

2

B

3

(B) 2nd finger fret 2 >

(C) 3rd finger fret 3 >

C

2

3

0

5

0

A

2

B

3

C

0 2

0 0

9

0

Using minims

A

2

B

3

C

0

13

0

Using quavers

A

2

B

3

C

0

2 3 2

0 2

0

17

0

Using full notes

A

2

B

3

C

0

27




0 2 3

(E) 2nd finger fret 2 >

(F) 3rd finger fret 3 >

fret 1

0

Open (D)

1

0

Using crotchets

D

D

E

F

2

E

3

F

2

3

0

5

0

2 3 2 2

0

9

0

Using quavers

2 3 2 2 3 0

13

0

Using minims

2 3 0

28



1

Review of all notes covered

0

6th string

1 3 0

5th string

2 3 0

4th string

2 3 0

3rd string

2 0

2nd string

1 3 0

1st string

1 3 1 0 3

2nd string

1 0

3rd string

2 0

1

We are now going to take some of these bass notes we have just covered on the 6th, 5th and 4thstrings and re-visit our first four tunes.

The notes we have covered above span the first position covering all notes (excluding sharpsand flats, which, we will cover later) over the first three frets: from this, we can pick out ascale of C Major which has a total of 7 notes. The eighth note is the top C.

The most important notes of this scale are the1st (Root) 3rd and 5th. Think of this scale as a step-ladder in which we name the steps:First step is the first degree of the scale: we are looking for the 1st, the 3rd and the 5th step fromthe steps of 1-7

1st (C) (Root)

1

2

3rd (E)

3

4

5th (G)

5

6

7

(C)

8

29



1

Largo q 80

Good King WenceslasEnglish Trad:

These pieces have been revisited at an early stage of development:If they appear difficult, procede to page 37 and carry on with the developmentexercises. Revisit these pieces at a later stage and they will be easier to play.

2

1

i

m

3

i

4

m

2

1

i

m

0

i

1

2

m

0

i

0

m

i

2

1

m

3

i

5

4

2

m

1

i3

m

4

i0

m

4

i2

1

m 1

2

i

0

m

i

0

m2

1

i

0

m

9

00

i

m

1

2

i

m2

1

i m

2

4

i

4

2

m

1

i3

m

4

i2

1

m 0

1

i 3

1

m

31



1

Allegretto q 100

Au Clair de la LuneFrench Trad:

Translates to 'By the light of the moon'

2

1

Count as you go making sure the minims and full notes receive the full count

1

2

3

4

0

4

01

1

2

4

0

3

4

2

1

1

0

2

2

4

3

3

4

2

1

1

2 3 4

5

3

4

1

2

23

2

4

3

2

1

2

1

3

4

4

0

1

21

200

3

2

0

4

3

0

1

2

2

0

3

4

4

9

2

1

1 0

23

3

4

4 01

1 2

3

4

3

4

2

1

1 0

22

4

3

0

42

1

12 3 4

32



1

Intro'

Yankee Doodle American Trad:

0 1

This is a tied note: The first note is played, the second note is counted but not played

3 3 0

1 0 1 3

5

3

1 0

don't play this note

0 2

1 2

4

0

8

2

1 03

4

0

2

1 3

4

02

1 03

0

0

2

1 2

4

0

12

1

0

02

4

13

0

00

2

2

1 3

33



1

Introducing dotted minim >h.

This > h. is a dotted minim: a dotted minim receives 3 counts

1

2 3

& the dotted crotchet > q.

2

This > q. is a dotted crotchet: a dotted crotchet receives one and a half counts:

the dot increases the length of the note by half

1 +

2 + 3 4

3

1 +

2 + 3 4 1 2 3 4 1

2 3 4 1

2 3 4 1

2 3 4

8

The dotted minims & crotchets are going to crop up in lots of music:Spend a little time tapping out these rhythms though they will make more sense when we use them in somefamiliar tunes.

1 +

2 + 3+ 1 2 3 + 1 +

2 + 3 1 2

3 + 1 + 2 + 3

34



1

Trad:

I Saw Three Ships

6/8 time is doubling up the time of 3/4 counting notes as quavers (six to each bar).This timing is normally found in upbeat tunes that move along fairly quickly.Play the top line first then add the bass part.Play slowly to get the rhythm then raise the tempo.

1

2

4

3

04

2 0 4

3

1

3

1

2

0 4

3

00

2

0

6

1

2

4

3

04

2

0 4

3

1 0

3

1

2

0 4

3

1

2

35



1

Franz Gruber(1787 -1863) Arr: D.P.

Silent Night

Adagio q 80

0

Introducing some expression markings: mp - mf - f - p Soft ( p ) ( f ) loud (see ref'page 70)

These markings are extremely important to bringing the best out of any piece of music.

3

mp

2 32

02

2 32

5

4

2 mf

0

3 1

2 0

3

9

32

12 0

0

3

2 32

13

32

12 0

02

2 32

17

4

cresc.

2 1

0

f

4

0

12

0

21

poco rall.

1

2

0 0

0

3 1

2

p

3

36



1

Harmonising with open notes

A chord is made up of 2, 3 or more notes played at the same time: a broken chord (arpeggio) is the same notesplayed as individual notes: In a C chord as many as six notes can be played simultaneously to sound this chord: However,sometimes 'less is more' and the same chord can sound more effective by just playing three notes. Chord symbols arerarely illustrated in many classical scores: Being able to identify clusters of notes as chords can help to read and play more efficiently.

0

0

& chord building

5

00

9

0 0

13

00

17

0 0

37



Open notes con' with added bass notes

21

0

Play free stroke

0

0

0 0 0 25

0 0

0 0

0

29

0

00

33

0 00 0 0

37

0 0

0 0

0

00

0

38



1

Bringing the left hand into play

1

0

0

1

0

1

5

01

0

1 1 0

1

9

0 0 0 0

13

0 0

1

01 0

1

01 0

1

0

1

17

0 01

0

1 01

39



1

With added bass notes

This exercise is a warm up preparation study to the Carulli piece on the next page:Play free stroke evenly throughout

3 0

1

01

0

3 01

00

1

5

3 0

1 0

0 3 0

10

3 0

9

3

00

0

00

0

00

3

00

13

3 01

0 0

1

3 0 0 0

1

3 0 0 1

01

3

17

3 0

1 0

0

1 3 0

1 01

3

40



1

Waltz

Andante q > 80

Ferdinando. Carulli (1770-1841)

3

01

0

0

1

3

01 3

00

5

3

01

0

0

1

0

2 0 1

3

3

00

10

2

01

0

0

1

3

01

3

00

14Fine

2

01

1 30 1

3

0

2

10

18

0

2

10

0

3

1 0

0

1

0

0

2

10

22 D.C. al Fine

0

2

10

0

3

1 0

0

2

41



1

Andante q > 80

Andante in C MajorF. Carulli (1770-1841)

3

01 0

0

3

2

0

4 3

4

3

01 0

0

0

1 2

4 3

0

1 0

7

00

3 2

0

1 0

0

1 3 0

10

2

0

4

3

3

0

0

2

01

13

0

0

1 2

4 3

0

1 0

42



Lesson 6

Introducing F#&

The Key of G Major

These (F) notes are now played on the second & fourth frets

The sharp sign (#) before a note makes it one fret or semitone higher: Slide the finger from F first fret to F# second

fret:Practice the scale with correct fingering

fret 1

fret 2

fret 3

fret 4

0 2 0 1 3 0 2 3

2 3 1 0 2 0

3 0 2 3 0 2 4 0 2 0 1 3 0 2 3

43



1

Scale Study in G Major

This scale study should be broken down into 'chunks' or small phrases:The arched lines indicate phrase marks and create a sort of punctuation or a short pause that will give you timeto think about the next 'chunk' or 'phrase' before continuing: These phrase marks allow music to breathe and theaudience time to take in the sound before you 'feed' them the next bit of information: Good speakers usethis technique, it prevents communication from sinking into a one line monotony.

3 2 0 3 1 0 2 2 0 3 1 0 2 0

5

0

3

1

0

2 0 4 3

0

0

2 0

9

1 0 2

0 3

0 0 2

0

1

2

0

13

2 1 0

2 1 0 0 0 3 3

0

44



1

Scale Study In (G)

Scale Study with added bass

3

2 0 41

2

00

2 13 0

III

2

3

4 0

1 00

2

5

0

3 4

1

2 0

2 0 4 4

2 0

4

2 0

3 2 00 3

9

1

2

02

3

0 4

2

00

0

2

3 02

1 0

2 0

0

13

0

2 1

2

2

3

1 0

3

2 0

2

0

0

1

3

4

0

2

45



1

First chordsHarmonising in 3rds

These chords (or shapes) will crop up in lots of pieces of music:Spend some time on these shapes using correct fingering:Use thumb for the bass notes: Use alternating fingers (i) (m) for top line

1

2

0

0

1

2

0

0

1

2

5

0

0

1

2

4

3

0

0

9

1

2

4

3 0

0

1

2

13

4

3

0

0

1

2

4

3

17

0

0

1

2

4

3

0

0

1

2

46



1

Broken chords (arpeggios)

2 1

0 0 2

1 0

0

1

2

5

0 0 2 1 3 4 0 0

9

2 1 3 4

0 0 1

2

13

3

4

0

0

2

1

3

4

17

0

0 2 1 3 4

00 1

2

47



Introducing two new sharps

The G# can be found in three different locations:

The first fret of the third string:

The fourth fret of the 1st & 6th strings

G# & C#

C# can be located on the second fret of the second

string & on the fourth fret of the fifth string

Many people become confused when hearing about sharps # and flats b for the first time:

Putting things simply, when we move up the fretboard from F - to F # or G - G# we are moving

just one fret or a 'half step'. We call these notes 'sharpened':

Coming back down we use the word 'flat' illustrated with this > b sign. These notes are referred to as 'flattened'. An F# will sound exactly the same as a Gb. We name the notes differently depending on which way (up or down) the fretboard we are moving.

fret 1.-3rd string

fret 2

fret 1

fret 3

fret 4

fret 4

These new sharp notes can revert to a natural note through the use of this § sign: It looks

very similar but it is slightly different from a sharp sign: With time your eyes will get usedto the subtle difference between the two signs.

48



1

Two short scale studiesusing all three sharps

fret 4

fret 2

fret 4

fret 3

fret 1

1

0 4 2

3

4

0

4

3

2

4 0 4 2

3

4

0

5

These two new sharps are used in this typical 'rock n roll' riff:

0 3 1 3 13 1

3 0 3 1 3 1

3 1 3

50



1

Scale review covering all the notes learned

in the first position

0 2 4 0 2 4 0 2 4 1 2 0 2 3 0

2

4

2

0 3

6

2 0 2 1 4 3

2

0

Chronological scale:practice each string separately

6th string

1

2 3

4

0

5th string

1

2

10

3 4 0

4th string

1 2 3 4 03rd string

1 2 3 02nd string

1 2 3 4

1

0

1st string 1 2 3 4 3 2 1 0 4

2nd string3 2

1 03rd string

3 2 1

0 4

4th string

2

51



1

First tune using G#

Malaguena

Play all notes with (p) thumb

Theme:p

2

1

p

0

p p

2

1

p

0

simile...

2 1 0 2 0 3

5

2

1

Study 2 using quavers:Play bass notes with thumb:Play all top notes using (m) middle finger

P

2

0

m

1

p

m

0

p

m simile..

2

0

1 0

2 0

1 0

2

0

0

3

5

52



1

Malaguena (con')

Study 3 with added tuplet:Play bass with thumb:Play top notes (m) (i).Play slowly and build up tempo

p m i p

m i

simile...

3

3 33

3 3 3 3 3 3 3 3

5

1

This popular little theme has many variations and is open to lots of improvisations:Try playing the theme on the bass

0

4 2 0

4 2

0

3 2 0

3

1 5

0

0 0

4

2

0

4

2

0

3

2

9

0

3

1

0

53



1

Short arpeggio study 1

Arpeggio translates to 'harp-like' broken chord playing individual notes:Play free stroke throughout using correct fingering.

0

21 0

mp

21

0 23 1 2

3 1

5

0

1

0 0

1

0 0 0

2

1 0 3

2

1 0

9

4

2

1 0 3

2

1 0

2

1 4

2

1 0

13 poco rall.

1 2 0

0

0

10

0

2 10

0

0

p

1

23

(poco rall)> slow down towards the end

54



1

First study in C Major

using F# & C# F. Carulli (1770-1841)

1

Before playing this study, review preparatory exercises on pages 45 & 46

2 0

0

0

0 4

3 0

1

2

0

5

0

3 0 0

1

0 0

3 0 1

3

9

01

0

41 0

0

02

41 0

13

1

3

0

4

0

3 0

4

00

17

1

2 0 0 43 0

1

2 0

21

0

3 0

0

1

0

0

3 0

1

3

55



1

Moving from 1st to 3rd position

0 1 1 1

5

1 0 1 1 1 1 1 0

9

0 2 3 2 3 2

13

1 1 1 1

1 1 1 1 1

17

2 2 2 2

58



1

0

0 12 1 0

0

1

1 1

2 1 1

2

1

1

2 12 0

0 0

00

5

12 1

2 12 1

2

9

00 1

2 1

2

00 1

2

00

13

00 1

2 1

2 1

12 1

2

00 1

2

00 1

2

00

59



1

Andante q > 90

WaltzD. Aguado (1784-1849)

0 0

0 1

I

2 2gl iss.

III= > (3rd fret)

1

0 00 2 1

0 4 0 0

0

5

0 0

0 1

I

2 2gl iss.

1

0 00 2 1

0 4 0

0

9

1 0 I

2 1

gl i s s.

0 12 1 0 1

III=

2

gl i s s .I

13

0 0

0 1

I

2 2g l i s s.

1

0 00

I

2 1

0 4 00

60



61



1

Allegretto q > 100

Waltz in C MajorF. Carulli (1770-1841)

3

0

4 0

1 0

2

1 4

3

0

5

3 0

4

3

0

1 4 1

3

9

3

0

4 2

2

1 4

0

13

3

0

4 2

3

0

1 4 1

3

17

2 1

4

2 1

2

21

2

1

4

2

0

2

62



25

0

1

0

2

1

2

1 g l i s s.

1

29

0

10

21

21

g l i s s.

2 0

2

33

3

0

4

2

1 4

0

37

3

0

4

1

3

0

1 4 1

3

41

3 0

4

2 2 1

4

0

45

3

0

4 2

3

0

1 4 1

3

63



1 Allegro q > 130

Allegro Op. 50 No. 13M. Giuliani (1781-1829)

Before starting this piece, place the first and second finger down in preparation:From bar 1- 5 keep the second finger down as an anchor:Play free stroke throughout.

0

21 0

0

2

1 3 0

23 1

4

0

21 3 2 0 2 1 3 1

7

3

21 0

2

1

4 0

2

1 0

10

0

2

1 3 0

23 1

0

21 3

13

23 1

0

0

3 1

2 3 0

16

0

10

0

21

0

10

0

21 0

0

1 0

2

64



65



1

Andante q > 130

Andante in A minorM. Carcassi (1792-1853)

0

The Roman numeral >

0

2

III=

mf

1

slide to 3rd fret

0 0

0

0

0

3

1

5

12

0 0

1

f

3

0

1

1

3

0 01

1

III=

2 g l i s s.

0

12

g l i s s .

0

9

0

mp

01

2

0 0

23

0 3 1

13

00

1

3

0

0

1

3

0

1

0

3

0

0

2

17

0

2 0 1

0

0 3

0

1 0

2

0

0 2

66



21

0

2

0 1

0

0

0

1

3

2

0

0

2

25

0

1

3

2

0 0

2

3 0

3 2

0 1

2

29 rall.

0

3

0 13

2

0 1

0

p

2

There is lots of scope to turn this piece into a good little concert piece:Take time to look at all the expressive possibilities such as 'ponticello' (use sparingly)

crescendo and dynamic ranges, the use of rubato, - f , p mp mf pp ff

On the final piece, Romance by Molino, try and make good use of the hairpin -

This sign indicates a chort crescendo (dynamic rise in volume)

67



1

Moderato q > 100

F. Molino (1768-1847)

Romance

0

Expressively use rubato throughout

f

13 1

2

0

2 3 1

3

2

0

0 0

0

12

1

III=

2 01 1

0

3

5

0 p

0 13 1

2

mp

ponti................

13

0

3

1

4

0 4

3

1

2

0

3

9

01

23

p

3

f

1 0 3 0 1

3

1

III=

3

13 3

1 0

0

0

13

0

12

4

1

1

p

1

0

0

1

0

3

2

p

0

1 0 2

0

1

3

17

1

2 3

0

0

0

2 3

13

0

1

1

3

1

III=

3

0 3

1 0

0

68



21

0

12

4

1

1

p

1

f

0

0

p

1

f

0

3

2

p

0

1 0 2

0 1 3

25 accel. accel.

1

2

3

0

0

0

2

1

3 0 1

2

1

III=

2 0 0

2

0 1

3 0 1

0

29 rall.

0

1

III=

2

0

2 0

12 0

1

p

12

69



70



71

First Notes (Classical Guitar Study)

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Transcript of First Notes (Classical Guitar Study)