This book is a continuation of Volumes I and II, Modern Method for Guitar. Most of the terms and techniques are directl. This book is a continuation of Volume I, Modern Method for Guitar. Most of the terms and techniques are directly evolve. A Modern Method for Guitar - vol 1 - Download as Word Doc .doc), PDF File .pdf ), Text File .txt) or read online. O metodă bună pentru cei care vor să învețe la.
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William leavitt a modern method for guitar vol. 1 com audio. 1. This book has been specifically designed to accomplish two things #1. To teach. A Modern Method for Guitar is a very classic series of teaching materials for professional and systematical learning of guitar play and creation. Download this ebook at: medical-site.info?book= [PDF] Download A Modern Method for Guitar: Volumes 1, 2.
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Brian Sullivan. Actions Shares. Embeds 0 No embeds. No notes for slide. This book has been specifically designed to accomplish two things 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 con- sider a sensible minimum. For the gradual development of dexterity in BOTH hands. This is the physical part of learning to play the guitar and as such 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 will eventually 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 student- teacher division in the duets. Both guitar parts are written to 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 READ 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 nothing but musical terms and markings as it is consider- ably 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 all others 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.
Next to the clef sign at the beginning of a composition are found two numbers like a fraction or a symbol which re- presents these numbers. The top number tells how many beats or counts in a measure, and the bottom number indicates what kind of note gets one beat.
Note And Chord Review Regular review of all material is a must! Review of all material is a must 18 First Solo Solo arrangement. There are two ways to pick consecutive sets of Triplets.
Practice the entire exercise thoroughly, using first the picking marked TYPE 1. The major and relative minor key sig- natures are the same. There are 3 different scales in each minor key.
Smooth, melodic rhythm accompaniment depends on the number of chord forms mastered. Be sure to observe the tempo changes. Of course having only eleven chord forms at your command will cause you to move up and down the fingerboard much more than is desirable for good rhythm playing. The more forms you know - the less distance you have to travel, and the more mel- odic your rhythm playing can become.
SEE P. Do not play them on two consecutive days. Do not go back over any particular section because of a wrong note. By obeying these rules the "Reading Studies" will never be memorized A little later on it is recommended that you use this procedure with a variety of material as this is the only way for a guitarist to achieve and maintain any proficiency in reading.
Even when working steady we are not reading every day - so "scare yourself in the privacy of your practice sessions".
If unusual difficulty is encountered reading these pages - go back to Page 60 and start again. This is mainly a physical problem and a certain amount of practice time seems to be the only solution. However, I have found that by presenting new chord forms to a student in a certain order a sequence of related fingerings it seems to lessen the time normally required for him to perform them.
Therefore, the following chord forms are presented in a particular order.
We will use three of the previously learned fingerings as basic forms. We will alter these forms by moving, or removing one or more fingers.
In this way each new fingering is directly related to the one s preceding it. No specific letter names are given-only the chord type and the string on which the root is found. Do not skip around. Do not change the fingering of any form, even if you already play it but in a different way. It will appear later on with "your" fingering,. Practice all chord forms chromatically up and down the fingerboard observing root chord names. These chord exercises are very important and should be reviewed regularly as they serve many purposes, such as physical development of the left hand.
Regular review is a must! Do not "practice" these Reading Studies, do not play on two consecutive days. See top Page For additional technique building patterns, see Page When 2 consecutive notes on adjacent stgs.
Speed not corning? Left hand accuracy not consistant?
Play any scale very slowly. The 1st guitar part of this duet is often played using the "muffled effect. All strings being played must be kept covered.