derek gripper's montessori guitar
DESCRIPTION
This book will take you from not being able to play at all to being able to play guitar wonderfully. It is simply the clearest and most concise manual on how to play a musical instrument that you will find. Why? Because it is based on the education philosophy of one of the twentieth century's great educators: Maria Montessori. This book is for small people and big people. If you have a few fingers on each hand and a guitar then this book is for you. If you find this book useful you can make a contribution towards its development. Proceed to http://www.derekgripper.co.za/derekgripper/scores.html to make your contribution.TRANSCRIPT
MONTESSORI GUITAR
DEREK GRIPPER
New
Cap
e
© Derek Gripper 2012www.derekgripper.com℗ Montessori Guitarwww.montessoriguitar.comCover photo by Inge PrinsPhotos by Christine Nachmann and Klaus Wildner
Maria Montessori was born in Italy in 1870. She was Italy’s !rst woman doctor and began working in education in the early 1900’s.
Montessori Guitar is based on Montessori’s method, applied to the guitar for the !rst time. "e method is simple: it is the teacher’s task to remove obstacles, to present the material as simply as possible, and to allow space for the learner’s own spontaneous discoveries.
So, take it easy. Return to early lessons. Jump forward to later ones. See what happens. Be interested in what your !ngers can do.
Derek Gripper
part one: TREBLE STRING MELODIESpart two: TREBLE STRING CHORDSpart three: MELODIES WITH RHYTHMIC NOTATIONpart four: BASS STRING MELODIESpart !ve: PLAYING MELODIES WITH BASS ACCOMPANIMENTpart six: CHORDS AND PA#ERNS
...an introduction to playing and reading simple melodies on the !rst three strings of the guitar. Introducing the basic concepts of guitar tablature, the use of the le" and right hands, and the names of the treble strings.
part oneTREBLE STRING MELODIES
!e Treble Strings
g b e
Tablature
Tablatures use a line to represent a string.
"is tablature represents the three treble strings
!e Treble String Tablature
!e Treble String Tablature
gb
"e e string is the top line because it makes the highest sound.
e
Gently pluck the strings with the right hand thumb.
Plucking the String
"e position of the 0 shows which string should be played by the right hand thumb.Read from le" to right:
Open Strings
0
00
0
00
A cycle is a melody that is played over and over again
000
00
00
000
0
0
00
0
00 0
00
00
00
Open String Pa"erns
Frets
1 2 3 4
!e Le# Hand Fingers
1 2 3 4
Le# Hand Numbers on the Tablature
2 3
0 2 3
Le# Hand Numbers on Different Strings
2 3 0 3 0 2 0 2 3
0 2 3 2 3 0 3 0 2 0 2 3
0 2 3 2 3 0 3 0 2 0 2 3
on the e string
on the b string
on the g string
22 0 0
22
00 0 22
Melodies on the Treble String Tablature
22
233
00 0 22
22 0 0
033 220 0
start at the beginning again
Twinkle Twinkle Li#le Star
033 220 0
end
Ode to JoyLudwig van Beethoven
113
33
0
000
11 3330
113
33 000
011 33 11
02 2 3 0 0
20 2 3
0 0 0
02 2 3 0 0
22
0
2
0
Li!le Hans
0 2 0
Happy Birthday
01 0
0
3 0
01 01
2
0 2 003 1
1 01
13 1
0 0 20
1 1 1 0
0 0 20 0 0
2 2 0
Peas Pudding Hot
0 2 03 2 3
0
0 2 3 2 30
0 2 03 2 3
0
00
22
London Bridge
Dinosaurs: Part 1
20 1 3
0 0 0
1 03
1 0
3 1 0 3 1 02
0 0 0 00
Dinosaurs: Part 2
20 1 3
0 0 0
1 03
1 0
3 1 0 3 1 02
0 0
2
1
...an introduction to playing and reading harmonic accompaniments on the !rst three strings of the guitar. Introducing the names of the right hand %ngers, three string chord diagrams and the use of right hand pa"erns with simple chord progressions. #e musical examples are accompaniments to the songs from the %rst part.
part twoTREBLE STRING CHORDS
i m
p
!e Right Hand Le"ers
!e Right Hand Fingers on the Strings
i mp
ip
m
Each of the treble strings is played by one of the right hand !ngers:
Right Hand Le"ers on the Tablature
p
miiii
p
p
pp
m m
m m
m
iip
Right Hand Pa"erns
iiii
p
miiii
p
p
pp
m m
m m
m
iip
mi i
m m
pip
pi
p
m
Right Hand Pa"erns with Fingers Together
A chord is a three or more notes sounding together. Sometimes the notes of a chord are played one a$er the other.
"is is called a broken chord."e accompaniments in this part of the book use broken chords.
!ree String Chord Diagram: Strings
b eg
A chord diagram shows the strings of the guitar vertically
!ree String Chord Diagram: Frets
1st Fret2nd Fret3rd Fret
1 2 3
4
!e Le# Hand Fingers
Placing the Le# Hand Fingers on the Chord Diagram
1
"e numbers for the le" hand second !nger can be placed anywhere on the chord diagram
11
1
222
2
Combining Right Hand Pa"erns with Chord Diagrams
ip
m
2
Before playing the following right hand pa#ern...
...place 2 on the second fret of the g string as below:
A chord progression is a series of chords or broken chords played one a$er the other.
Combining Right Hand Pa"erns with Chord Progressions
ip
m Play four right hand cycles for each of the chord diagrams below
23
Combining Right Hand Pa"erns with Le# Hand Numbers
1 1
3
1
ip
mi
Play this right hand pa#ern twice for each of the chord diagrams
A Chord with Two Fingers
1 2
"e !rst and the second !ngers at the same time.
A Chord chord with !ree Fingers
"e !rst, second and third !ngers at the same time.
1 23
A Chord chord with !ree Fingers
"e !rst, second and third !ngers are down at the same time.
1 23
1 2 13
2 1 2
A Chord Progression
Combining a Chord Diagram with a Right Hand Pa"ern
1 2
To make a chord sound we need to add a right hand pa#ern.
ip
m
Place the notes of the chord down before playing the pa%ern above.
Playing a Chord Progression with a Right Hand Pa"ern
ip
mi
1 2 1 2 13
2 1 2
Play the following pa#ern once for each of the chord diagrams below.
You are now ready to accompany melodies and songs.Play the right hand pa#ern once for each of the chord diagrams.
Accompanying Ode to Joy1 1
3 3
33
1 1
1 1
3 3
1 1
3
1
pi
mi
1 2 1 2 13
2 1 2
11 2
11 2
1 2 1 1 21
1 2 1 1
3
21
twinkle twinkle star
how I wonder what you are
up a- -bove the world so high
like a diamond in the sky
li%le
Accompanying Twinkle
ip
mi
23
23
Accompanying Li#le Hans
1 2 1 21 1
1 1 2 1 1 2
1 2 11 1
1 21
1 2 1
2 2
2
2
ip
m
Accompanying Happy Birthday - Part 1
1 1 1
3 3 3
3 3
Happy birth- to
you Happy-
birth day to
day
3
1
1 1
you
1
happy
ip
m
Accompanying Happy Birthday - Part 2 1 1 1
birth- day to
1 1 1
1
you Happy
birth
1
3
1 1
day
you
to
23 3
23
2
ip
m
1
Accompanying Peas Pudding Hot
1 2 1 2
1 1 2
1 1
121
peas pudding in the pot
nine days old
2
2
peas pudding cold
peas pudding hot
m
pi
m 3i i
m
2
Accompanying London Bridge
1 2 1 2
11 2
1 2 1
121
London Bridge is falling down
My fair lady
2
falling down falling down
London Bridge is falling down
ip
m m
p
mi
m
Accompanying Dinosaurs1
21
21 1
1 12
1 1
1 1 1 1
some of them liked plants to eat from the fertile &oor
some would rather eat another di-no- saur
2
23
2
dinosaurs lived long ago when the world was new
12
12
1 12
32
2
they were very big and strong very scary toom
pi
mi
...introduces the most common divisions of a crotchet or eighth rhythm, including examples of melodic pieces using these divisions. #e notations use three string tablatures with rhythmic notation and the pieces are folk tunes or children’s songs from around the world.
part threeMELODIES WITH RHYTHMIC NOTATION
"ere are two aspects to rhythm:
beat: when you tap your foot or clap along to music.
rhythm: what happens inside the beat; the li%le rhythmic pa%erns that make every song sound different.
Crotchet Rhythms
Beats are always the same length. Here are three boxes representing three beats.
You can keep the beat by saying “Ta” for each box in a regular rhythm.
Ta Ta Ta
Crotchet Rhythms
Ta teTa Ta fa te !
Each of these boxes represents one clap of the hand."e clap always happens on Ta
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
"e rhythms are placed inside the beats.
Saying Rhythms
Say the following rhythms keeping the beat with a regular Ta.
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
"e rhythms are wri%en above the tablature to show when each notes is played:
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
Placing Rhythms Above the Tablature
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2
0 0 2 0
2
0 0
3 2 2 0
2
0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
Barlines
Barlines are used to divide music into sections. "is makes it easier to read.
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2
0 0 2 0
2
0 0
3 2 2 0
2
0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0™™
™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2
0 0 2 0
2
0 0
3 2 2 0
2
0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
Go tell Aunt Rhody
0 0
Minuet in G
J.S.Bach
3
0 2
0 1 3
0 0
0
1 3
0 2 3
0 0
1 3 1 0
2
0 1 0
2 0 2
0
2 0 0 0
Final Barline
"is !nal barline shows where the end of the piece is.
Repeat Signs
™™ ™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2
0 0 2 0
2
0 0
3 2 2 0
2
0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
Everything in between the two repeat signs is played twice
Repeat Sign
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 02 2
0 0 2 02
0 03 2 2 0
20 2
2
2 2 30 0 2 2 0
3 2 2 2 30 0 2 2 0
"is note is held for the length of “Ta Ta”:
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
Rhythms Without Notes
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2
0 0 2 0
2
0 0
3 2 2 0
2
0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
0 0
Minuet in G
J.S.Bach
3
0 2
0 1 3
0 0
0
1 3
0 2 3
0 0
1 3 1 0
2
0 1 0
2 0 2
0
2 0 0 0
0
Little Hans
traditional
0
2 2 3 0 0
2
0 2 3
0 0 0
0
2 2 3 0 0
2
2
0 0
2
0
0
0
Fox, You've Stolen the Goose
Traditional
0 2
0 1 3 3 3 3
0
1
3 0
3
0
1
3 0
3 3 1 1 1 1 0 0 0
0
2
1
2 0
0 3 3 1 1 1 1 0 0 0
0
2
1
2 0
Ta(fa)te ! Ta fa te !
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
Ta.te%
"e following rhythm is similar to Tafate!, but one of the sounds is silent
Once you are used to the sound you can call it Ta.te!
The Cuckoo on the Bare Branch
Swiss Children's Song
1 1 3 3
0 3
0 0 0 0 0 0
1 1 1
0
1 1 3 3
0 3
3
0 0
1 1 3 3
0 3
0 0 0 0 0 0
1 1 1
Ta . te !
The Cuckoo on the Bare Branch
Swiss Children's Song
1 1 3 3
0 3
0 0 0 0 0 0
1 1 1
0
1 1 3 3
0 3
3
0 0
1 1 3 3
0 3
0 0 0 0 0 0
1 1 1
The Cuckoo on the Bare Branch
Swiss Children's Song
1 1 3 3
0 3
0 0 0 0 0 0
1 1 1
0
1 1 3 3
0 3
3
0 0
1 1 3 3
0 3
0 0 0 0 0 0
1 1 1
Ta(fa te)!
0
0
The Butterfly
traditional
2
0 1 3
0™
1 3
™0 1
2 0
0 3
3 0
2
0 1 3
0™
1 3
™0 1
2
0 0 0
3 1 0
2
Ta fa te !
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2 3
Œ Ó 0 0 0
3 2 2 0 0
2
0
2
0 0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
!e Do"ed Rhythm
"e following rhythm is similar to Tafate!, but two of the middle sounds are silent
Once you are used to the sound you can call it Ta..!
Ta . . !
0
0
The Butterfly
traditional
2
0 1 3
0™
1 3
™0 1
2 0
0 3
3 0
2
0 1 3
0™
1 3
™0 1
2
0 0 0
3 1 0
2
0
0
The Butterfly
traditional
2
0 1 3
0™
1 3
™0 1
2 0
0 3
3 0
2
0 1 3
0™
1 3
™0 1
2
0 0 0
3 1 0
2
0
0
™™™™
View From Rattvik
Swedish Traditional
3
0 0 1™
0 0
3
0™
3 1 1 0
™0 2 2
™1
0 0
3
™3
3 3 0 1 1™
0
3 1 3
0
2
™1
i m i m i m i m i m
“Walking” with i and m
i m i m i m i m i m
i m i m i m i m i m
instead of playing with the right hand thumb, one can “walk” with the index and middle !ngers.
Playing Twinkle with i and m
you can use this walking pa%ern
to play the !rst line of Twinkle
22
00 0 22
mi
ii m mi
Return to all the melodies in the !rst and second parts of this book and play them with i and m.
...introduces the full six string tablature and the names of the bass strings. #e pieces are adapted from the classical guitar literature and emphasise the playing of a bass melody with open treble string accompaniment.
part fourBASS STRING MELODIES
!e Bass Strings
E A D
"is tablature represents all six strings of the guitar
Six String Tablature
eg
b
Six String Tablature: Treble Strings
E
DA
Six String Tablature: Bass Strings
!e Right Hand
ima
p
i m a
p
Position of the Right Hand Fingers
pp
p
im
a
For the following musical examples p plays the bass stringsand i,m and a play the treble strings.
Right Hand Pa"erns
p
ppp
i
iii
m
mmm
a
aaa
aamm
iipp
Right Hand Pa"erns with the Fingers Playing Together
p
p
i
i
m
m
im
pp
mi
pi
mmi
a a
pi
m
p
mi
pi
mmi
a
"e following music example
p
mi
mi
Estudio No. 1 (first Part) Leo Brouwer
0
0
0
0
0
0
0
0
0 0
0
0
2
0
0
2 0
0
0
3
0
0
2
Copyright © DG 2012
Gtr.
5
Gtr.
9
Standard Tuning Default
composerarr. Derek Gripper
2 0
3 2 0
3 2 0
2 4
0 2
0 0 3 1
0
2
0
0
4
is played with the right hand !ngers as follows:
and this one
p
mi
ma
Copyright © DG 2012
Gtr.
5
Gtr.
9
Standard Tuning Default
composerarr. Derek Gripper
2 0
3 2 0
3 2 0
2 4
0 2
0 0 3 1
0
2
0
0
4
is played like this:
i
Dionisio Aguado
Study in E Minor (first part)
0
0
0
0
0
0
3
0
0
0
0
0
2
0
0
0
0
0
2
0
0
0
0
0
1
0
0
0
0
0
2
0
0
0
0
0
2
0
0
0
0
0
3
0
0
0
0
0
"e following pieces are extracts from compositions for the classical guitar. Use the right hand thumb (p) to play the bass strings and the right hand !ngers to play the treble strings.
"eme 1 from Estudio No. 1 by Leo Brouwer
0
00
00
000
0 000
200
2 0
00
3
00
2
"eme 2 from Estudio No. 1 by Leo Brouwer
0
0
0
0
0
3
0
0
1 1
0
0
3
0
0
1 1
0
0
3
0
0
2
Dionisio Aguado
Study in E Minor (first part)
0
0
0
0
0
0
3
0
0
0
0
0
2
0
0
0
0
0
2
0
0
0
0
0
1
0
0
0
0
0
2
0
0
0
0
0
2
0
0
0
0
0
3
0
0
0
0
0
Extract from Study in E Minor by Dionisio Aguado
...playing treble string melodies with bass accompaniment. #e musical examples are taken from the %rst and second parts of this book.
part !vePLAYING MELODIES WITH BASS ACCOMPANIMENT
Up until now the right hand thumb and the right hand !ngers have been playing separately. In order to accompany a melody with a bass part, one must be able to
play the !ngers and the thumb of the right hand at the same time.
Use the thumb (p) to play the following bass notes.
E
DA
Playing Open Bass Strings
i m i m i m i m i m i m
E E A A D D
i m i m i m i m i m i m
E E A A D D
i m i m i m i m i m i mE E A A D D
Playing Treble and Bass Together
while playing the i and m parts on treble strings, the thumb plays the bass strings indicated below the tablature.
m i m i m i m i m i m i
E E A A D D
m i m i m i m i m i m i
E E A A D D
m i m i m i m i m i m iE E A A D D
22
00 0 22
While playing the melody with i and m, the bass strings are played by p.
A A D A
22
233
00 0 22
22 0 0
033 220 0
start at the beginning again
Twinkle Twinkle Li#le Star
033 220 0
end
A A D A
D A E A
A D A E
A D A E
02 2 3 0 0
20 2 3
0 0 0
02 2 3 0 0
22
0
2
0
Li!le Hans
A E
A A
A E
A AE
0 2 03 2 3
0
0 2 3 2 30
0 2 03 2 3
0
00
22
London Bridge
A A
E A
A A
E A
Dinosaurs: Part 1
20 1 3
0 0 0
1 03
1 0
3 1 0 3 1 02
0 0 0 00
AA
AD
AE
EE
Dinosaurs: Part 2
20 1 3
0 0 0
1 03
1 0
3 1 0 3 1 02
0 0
2
1
AA
AD
AE
AE
™™™™
0
0
Go Tell Aunt Rhody
traditional
2 2 0
2 2
0 0 2 0
2
0 0
3 2 2 0
2
0 2
2
2 2 3
0 0 2 2 0
3 2 2 2 3
0 0 2 2 0
A E A A E A
A A D A A A D A
A A
33
"e third $et on the E and the A strings gives us two more possibilities for bass accompaniments
G C
3
G
When the third !nger of the le" hand is playing the bass G, the fourth !nger must play the melody note.
le$ hand 4th !nger
le$ hand 3rd !nger
3
G
0 0
Minuet in G
J.S.Bach
3
0 2
0 1 3
0 0
0
1 3
0 2 3
0 0
1 3 1 0
2
0 1 0
2 0 2
0
2 0 0 0
G G C G
C G D G
The Cuckoo on the Bare Branch
Swiss Children's Song
1 1 3 3
0 3
0 0 0 0 0 0
1 1 1
0
1 1 3 3
0 3
3
0 0
1 1 3 3
0 3
0 0 0 0 0 0
1 1 1
C G C G C
C C G C
C G C
G G
0
0
The Butterfly
traditional
2
0 1 3
0™
1 3
™0 1
2 0
0 3
3 0
2
0 1 3
0™
1 3
™0 1
2
0 0 0
3 1 0
2
A A G C
A A E A
A A
A A
C
...introduces the playing and reading of chord diagrams and right hand pa"erns, providing an introduction to playing classical guitar pieces with constant right hand pa"erns and changing chords.
part sixCHORDS AND PA#ERNS
Chord diagrams are usually used in songbooks above the song lyrics. "ey remain the clearest means of showing the position of the !ngers on the $etboard.
Chord diagrams are used here to introduce music where the guitarist must place more than one le" hand !nger onto the $etboard at one time.
A right hand pa#ern is one way to create rhythm in guitar music. "ese pa%erns use a combination of the four !ngers of the right hand to pluck the strings of the guitar.
"e pa%erns in this book are wri%en using a combination of the traditional Spanish guitar’s right hand le#ers and the tablature o$en used to write guitar music.
Chord Diagrams
treble strings
bass strings
Chord Diagrams: String Names
bA D egE
Chord Diagrams: !e Frets
1st fret
3rd fret
5th fret
1 2 3
4
Le# Hand Fingers
"e le" hand !ngers can be placed on any fret.
2
g 2nd !nger
2nd fret
2
2
2
D 2nd !nger
4th fret
e 2nd !nger
2nd fret
e 2nd !nger
5th fret
e1st !nger 1st fret
11
1
e1st !nger2nd fret
e !rst !nger
3rd fret
e !rst !nger
4th fret
1
Chord Diagrams with the Le# Hand Numbers
Combining a Right Hand Pa"ern and a Chord Diagram
pi
ma
Before playing the right hand pa#ern above, place the le" hand !ngers as follows:
21
Playing a Chord Progression with a Right Hand Pa"ern
p
im
a
Play the right hand pa#ern once for each of the following chords. Repeat as a cycle.
121
pi
ma
1 1
mi
2
p
im
a
1
mi
2
mi
pp
iii
ma
p
23
21
From Estudio No. 1 by Heitor Villa Lobos
2 1
im
am
a
1
p
mi
21
2 3 2 1
From Study No. 5, Opus 6 by Fernando Sor
3 3
2
im
p
am
i
p
p
Sometimes the position of the thumb will change from chord to chord. We indicate this change by placing the p over the bass string on the chord diagram.
For this chord the right hand thumb plays the E string
For this chord the right hand thumb plays the A string
3
im
p
am
i
p
p
2
pp
From Etude in e minor by Dionisio Aguado
2
21
im
p
am
i
1p
p
mi
2
p
1p
21
From Etude in A minor by Dionisio Aguado
21
im
p
am
i
1p
p
mi
2
p
1p
21
From Etude in A minor by Dionisio Aguado
32
x2
x2 play the right hand pa#ern twice for this chord
play this chord progression twice with one right hand pa#ern for each chord
Repeats
3
ai m
1
p
31
From Study No. 19, Opus 60 by Fernando Sor
11
33 3
1
p p p
p p p p
x2
x2 x2 x2 x2
1
ma
mi
m
1
p
am
12
2
21
From Study No. 18, Opus 60 by Fernando Sor
2111
21
2
p p p p
p p p p
2
1
ma
mi
m
1
p
am
12
3
21
From Study No. 18, Opus 60 by Fernando Sor
2111
24
21
3
p p p p
p p p p
im
ip
i
p
mi
Try the previous chord cycle using the following right hand pa#ern.
"e p on the bass E note is the one that changes when the chord diagram changes...
...while the second p stays on the g string throughout.
2
mi
m
p
m
1
p
2 21
From Study No. 24, Opus 29 by Fernando Sor
21
1 3
p p p p
p p
32
Sometimes the position of the !ngers i and m changes from one chord diagram to the next."is is indicated on the chord diagram.
pi
m
211
i
i m i m
"e Right Hand Pa%ern remains the same, but the position of i and m changes.
Changing the Position of the Right Hand Fingers in a Chord Progression
Sometimes the position of the !ngers i and m changes from one chord diagram to the next."is is indicated on the chord diagram.
pi
m
21
i
i m i m
"e Right Hand Pa%ern remains the same, but the position of i and m changes.
Changing the Position of the Right Hand Fingers in a Chord Progression
1i m
1i m
2
mi
pi
m
12
1
From Etude in B minor by Fernando Sor
12
i
i
m
43
i m
3
i m
32
i m
43
3
i m
2
i m
43
i mp i mp
213
p p p p
p p
or or orp
im
pi
m
p
mi
pm
i
p
im
ip
im i
p
im
im
im
p im
11 1
12
p
3
p p
1p
3
p
4
i m
243
1p p
i mp i mp i mp i mp
2
i mp i mp p
1p
3
i mp
23
1 2 1 2 21
3
ppp
pp
iiii
mmmaa
ii
variation of Estudio No. I by Heitor Villa Lobos
23
1 2 1 2 21
3
ppp
pp
iiii
mmmaa
ii
1
4
4
variation of Estudio No. I by Heitor Villa Lobos
I II III IV V one two three four !ve
Roman Numerals
II III1st Fret 2nd fret 3rd Fret
Positions
1 II III1 1
1st Finger1st Fret
1st Finger2nd Fret
1st Finger3rd Fret
2II I
31
2 31
2 31
"e position of a single chord can be changed to create a well-known chord progression:
First Position Second Position "ird Position
Playing Chord Diagrams in Different Positions
23
im
p
am
i
1p
p
mi
1p
22
III III2
p
1III
1
mip
im
1 1
From Study No. 20 by Dionisio Aguado.
1
3
i m
2
i m m
21i m
i m
1i m i m i mp
433
p p p
p p ip p
p p p
4
II III
pi
m aaa
mi m
ip
p
V 1122
V IV 1III
I
23
2
1
3
Variation of Estudio VI by Leo Brouwer
pi
m aaa
mi m
ip
p
IV 13
IV 1III
I
3
43
1
4
From Estudio VI by Leo Brouwer
1 IV2
3
1 2 2
2
Heitor Villa Lobos was born in Brazil in 1887. When he was eighteen years old he started to explore Brazilian music by travelling widely throughout the country. "ese journeys inspired him so much that he gave up the idea of a formal training in European music and started composing pieces by improvising on the guitar. From here on his career as a composer started to take shape with many works being wri%en for many different instruments. In the 1920’s he met the Spanish guitarist Andres Segovia who asked him to write a guitar study. Villa Lobos wrote twelve which he called Douze Études (12 studies) which took li%le bits of pieces by Brazilian musicians and created challenging pieces for the classical guitar. He went on to write a number of other works for the guitar inspired by the music of street musicians. Many years later he even composed a piece for guitar and orchestra. Villa-Lobos died in 1959. He is considered to be one of the most important !gures in Brazilian music.
Heitor Villa-Lobos
Fernando Sor was a Spanish guitarist and composer born in 1778. When Sor was young the guitar was not considered a very serious instrument and certainly not an instrument for performances in concert halls. Sor’s many compositions and performances throughout Europe gave him the reputation as the best guitarist in the world as well as making people realise that concert msuic could also be played on the guitar. Because Sor was well known and because the guitar was a popular instrument he wrote many works for beginners to play as well as an important instruction manual, %e Method for the Spanish Guitar. "ere were very few guitarists who were able to play his more difficult works so he was forced to compose many simple pieces that other people could play.
Fernando Sor
Aguado was born in Spain in 1784 and learnt to play the guitar there. Late in his life Aguado met Sor and the two became friends and even played duets together. Aguado wrote a method on the guitar called Escuela de Guitarra. In this book he describes how to play the guitar using the nails of the right hand which differed from players like Sor who used only the &esh. He also described his invention of a special stand for playing the guitar which is pictured above.
Dionisio Aguado
Leo Brouwer is a Cuban guitarist, composer and conductor. He was born in 1939 in Havana, Cuba. He has wri%en many very original works for guitar in&uenced by classical music, Afro-Cuban music, jazz and modern composition. He has wri%en many pieces for solo guitar including a big collection of short studies which he wrote during the 1960‘s. "ese pieces explore many new techniques and styles of guitar playing. Brouwer also wrote larger concert pieces for guitar as well as a number of concertos for guitar and orchestra.
Leo Brouwer
"e presentations, musical examples, and pieces in this book represent the lessons given with the Montessori Guitar materials by Derek Gripper.
"e book can be used to teach oneself, or as a guide for the teacher’s use of the Montessori Guitar materials.
For complete scores of the notations in this book, or for more information on Montessori Guitar, see www.montessoriguitar.com or email [email protected]
For information on Derek Gripper see www.derekgripper.com