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Contents Page

Rudiments of Music Holding the Guitar Tuning the Guitar The Six Open Strings: E, A, D, G, B, E Counting the Beats: zl4Time 'lhe E: rrnger-rlaclng Finger-Placing IF $st Finger) and G (grd Firger) Dtrrng, r,: Firsl String, The rtrst Finger-Placing C (rst Finger) and D (3rd Fingu) .. Strine. B: Fineer-Placine The Second String, Femiliar Familiar Melodies on the E (Ist) aand B (znd) Strings The Down Stroke on Two Open Strings Striking Three-String Chords. Song Atcompaniment using the C and G7 Chords. .: The-Third String, G: Finger-Placing A (znd Finger) The Fourth String, D: Finger-Placing E (znd Fingcr) and F (3rd Fingcr).. Melodies using Fingers on the D (ath) and G (3rd) Strings Three New Chords: G, D7 and F Chord Practice : C, F, G7 Fun with Songs to Play Note Values: Semibreaes and Minims Changing the Pitch of Notes: Sharps and Flati

i{q'Ui[!Fjj :.WtSt.i,,g Time A New Rhythm: 3/4

,o ir,.

c

and D7 cno,as

Review: C, F and G7 Chords Note Values: Qtaaers . .

Song Practice using Quavers . .

Note Values: The Dotted-Crotchet Adding the D (4ln) String to the C, F and G7 Chords Song Practice with Chordal Accompaniment

' :l : :. .

iv

vi I 2

3 3

+ 5 5 6 8 B

9 IO

II

r3 r5 r6 r7 .

.

r8 r9

2t 22 23

2+ 25

z6

RUDII\{ENTS OF MUSIC

\fusic is re.presented on Paper by a combination o{ characters and signs; it is necessary to learn all o[

Guitar intelligently.

SvmLrols called notes are

written upon and between five lines

these

in order to play the

which is the staff.

The staff is divided by barlines into bars as follows":

Dar

Dat

Bar

Bar

These' in turn, are equal in time vaiue, according to the fractional numbers, (Time signature) placed at the beginning of the music, The different time signatures will be introduced throughout the book as the need arises.

TheTrebleorGclelFfoundatthebeg.inningofthestaffencirclesthesecondlinewhichestablisheSthenote G on this line, from which the other lines and

spaces are named as follows

Spaces

G

In addition

Every

Good Boy Does

Fine

notes are written upon and between short lines above and below the staff. These lines are called leger lines.

;;rF .{ rest indicates a pause, or

silence

Semibreve

J'^D E

SGtt

for the value of the note after which it is named, such as

rest

Minim

rests

Crotchet rests

Quaver rests

The end of a piece is indicated by a light and heavy line.

\\'hen a section or part of a piece is to be repeated it will

be shown by

a double bar with two dots.

Key Signatures, Sharps, Flats, and Naturals will be taken up and explained as the need

IY

arises.

HOLDING THE GUITAR IN PLAYING POSITION IN SITTING POSITION Sit erect in a straight chair and cross the left leg over the right knee. Place the guitar (lower curved part) on the left leg about halfway between the knee and the hip. Raise the neck of the instrument so that the head is approximately in line with your left shoulder. Hold the guitar rather firmly (but not tight) against the body with the right arm just below the elbow. The right hand and wrist should be completely relaxed.

Many performers prefer to cross the right leg over the left knee. ways and use the one which is most comfortable for you.

Try both

THE LEFT HAND

THE LEFT HAND Place the thumb against the under side of the neck approximately in line with the first fret, The wrist should be well arched bringing the

hand above the strings. Allow the tips of the fingers to fall straight down upon the strings. THE PALM OF THE HAND SHOULD TOUCH THE NECK. "^TOT

HOLDING THE PICK

HOLDING THE PICK The pick (large rounded cnd) is held lightly between the thumb and curved first finger of the right hand. Use as little of the point as possible for the best tone. The more point you use the greater will be the string resistance thus resulting in a poor hard tone. Rest the little finger on the instrument to help supPort the hand. The strings are plucked with the pick slanting downward.

IN THE tsEGINNING YOU MIGHT FIND IT EASIER TO PLUCK THE STRINGS WITH THE THUMB OF THE RIGHT HAND.

After you are able to locate the different strings readily you might try using thc pick.

TTJNING THE GUITAR

Piano keyboard

FROM THE PIANO Tbe six open strings of the guitar shoutd

J

be

d

tuned to the same pitch as the notes shown on the piano keyboand. Note that middle (C) is just to the left of the keyhote.

3 D

(t

^

I

#-

X.yt

"t.

I

I

written for the piano actual pitch

sounds one octave lowet ll

THE ACTUAL PITCH OT THE GUITAR IS ONE OCTAVE LOWER THAN THE VTRITTEN NOTES ON THE STAFF.

THE GUITAR PITCH PIPE Pitch pipcs giving the correct pitch of the six open strings are obtainable from music stores. WHEN TUNING FROM A PITCH PIPE BE SURE THE STRINGS ARE PITCHED ONE OCTAVE LOWER THAN THAT SOUND.

fu'6ammcam

tret I

ING ON THE PIPE.

TUNINC WITHOUT PIANO OR PITCH PIPE ,.,Tn* (E) wilt. vary the teast in pitch we Ij. l:y3, mrght us€ thrs string as a starting point and tune ihe other

lTrgr.r roilows (see Fig. l): Place finger just behind itr. Stt fret of.the low (E) 6th string, the 5th string to the same pitch. (A) Stop the (A) string at the 5th iret and tune - 4th the string

and tune

to the same pitch. (D) (D) string at the Stir tret and tune 3rd strin.g to the same pitch. (G) Stop the (G) string at ine fOURTH fret and tune the 2nd string to t[e same pitch. (B)

th€

Stop the

Stop the (B) string at the 5ih fret and tune

the lst string to the sime pitch.

oPen stfrngs

on the guitrr

(E)

fret

r

ftet

z

fret

3

fret

4

ftet t

vi

ftet

z

lret

l

ftet

4

THE SD( OPEN STRINGS OF TEE GUTTAR

Stringnumben 6

4

)

Z

t

I

DGBE and notes on the Guitar and

on the

Piano

Begin by playing four crotchets in each

bar. The crotchet

is to receive one count.

| 234

The symbol for this method .of counting is indicated at the beginning of the bar and called the tim-lignature

4-

trme means

4-

.

Four counts in each bar.

{ t Bu.t crotchet (

receives one count.

STRIKE ALL NOTES WITH A

DowN (n ) STROKE. - B - G - D). See diagram above. FOU R DOWN ANI) UP

Start by - using only the first four strings: (E rst

Bn

E

Count:12t412?4

Fint recite letter

names of notes as you play them,

E

thin repeat counting I - 2 - 3 - +. Be sure to count

evenly

FOUR UP AND DOWN

Count:

1

2

3

t234 TWO DOWN UP, DOWN AND U P

F^ E

trE Eg trtr

tr tr

MERRILY Using the open G

@ Guitar

Piano

&D

strings.

@

E Etr EE

COUNTING TIIE BEATS: TWO-FOUR TIME

cr_

Two counts in each bar.

ttme means

4=

Each crotchet receives one count,

REPEAT SIGN' Two dots :ll before a double b1r indicate a repeat to the beginning or to the play again.ll: Repeat rll 'rlrsr reclte retter names of notes while playing, then repeat, countingl evenly.

last reversed repeat sign

ll:

and

-2 TWO DOWN TWO UP

ALL MIX ED UP

tr

F

o Gu

T EN LITTLE IN'J UNS

F

E

E

AMER ICAN SONG

E

JINGLE BELLS PIERPONT

@

E

Gu

Piino

o Gu itar

Piano

LIGHTLY ROW NU

RY

E E

THE FIRST STRING, E: FINGER-PLACNG F (lsr Finger) A\:D G, (3rd Finger) HALF STEP E TO F, WHOLE STEP F TO G. Place fingers firmly upon the strings just below (not on) the Fret (seeillustration).

)

m' 1

On the Guitar

m"

On the Guitar

ffi

i

1

On the

staff

-4------.-

On the

fiF=+= .r

staff

aG

F

tr

RCH

tr

0

tr trI

0

T2

34

0

I

tr

0

FIRST STRING MELODY

3

Count:1 2 t 4 THE SECOND STRING,

B: FINGER-PLACING C, (lsr

AND D, (3rd Finger)

Finger)

HALF STEP B TO C, WHOLE STEP C TO D.

t

On

the Guitar

On

the Guitar

ffi il-t-1_rl o

Ff+l+ i

On the

staff

On the

g I

Count:

tr 0

staff

AND CMA RCH

tr I

tr EI o

1

SECOND STRING MELODY

ffi

FAMTLIAR IVTELODIES

oN THE E, (rsr) AND B, (2nd) STRINGS

A crotchet-rest( | ) rcceives one count, the same as a crotchet, Recite the letter names of notes before playing. r Hold fingers dou,n until necessary to lift theml

OATS AND BEANS 031 Fn n n

Count:l 2 3

ol

it

t3

0l3l

4

FOLK SONG *

I nFtn

lo8

I

30

l0l

n

Count:12 t.1

FRENCH SONG

I

ro

t

I

G

MERRILY 0 3

0313

| 2t JINGLE BELLS o8

*

LIGHTLY ROW l$ tl

Counr: 3

I

2

9013

103

i4 3

SKIP TO MY LOU

AMERICAN SONG

slosl

r2t1

THB DOWN (n )STROKE oN Two OPEN STRINGS z--l f--{

+=j 3rd AND OPEN Count:l 2 j

2nd STRINGS

4

STRIKING TWO STRINGS, USING lst FINGER F ON THE E, lst STRfNG 0 ro I

0ll nnllnnFt

Think Counr:

0

000

srRrKrNG Two srRrNGs, usrNc tst FTNGER c oN THE I r r.'rfrFnn

0

I

0

I

0

B, 2nd srRrNG I 0l0l

STRIKING THREE-STRING CHORDS when three or more notes sound together in harmony--thly produce a chord. It is most important that you learn and memorize the names as well as the fingerins for each chord. ST{UM'ALL cHoRbS WITH A DowN (r.t srRoKE.

)

@

lq

G?

^

ii

0ol

@: aJ cbr _L

*

Hold fingen down. Never lift a finger unless you have to.

tr

iG7 ci,*al

I

cfid

SONG ACCOMPANIMENT usrNc THE AND lffi] CHORDS

o

A CHORD MELODY

SONGS TO PLAY USING THE ABOVE TWO CHORDS You are no* ready to accompany many lamiliar songs and have lun playing the suitar. 'I'he songs on the following pages may be used as guitar duets or to zrcc()mpany singing. PROCEDURE: (r) Play the melody line, (z) Play the chord line yog can play it "ntitline may be sung *'ithout hesitating at a chord change, (:) Try to sins the melody line while strumming the chords. The melody bv a group, or played on any C instrument such as piano, violin, oboe oi flute.

SKIP TO MY LOU

g

@

MOUNTAIN

Chord Think

Be

Count:

my

paft - ner,

skip my

I,felody

my

lou

Part

-

ner!

skip my lou-

-

skip my

my

lou

Part

-

ner,

-

SOME, FOLKS DO

@ Chords Think Count:

Some

folks like

ro

It{elody

some folks

like

to

get grey hairs,.-

FOSTER

MORE SONGS TO PLAY USING THE E AND GZ CHORDS MERRILY WE ROLL ALONG COLLEGE SONG

@

@

l_El

Chords Think Count:

Mer -

ri

ly

we

0El1 Melody

E the dark

blue

LIGHTLY ROW !-OLK SO\G

@ Chords Think Count:

light - ly

glass

-

y

waves

we

go;

_

Melody

smooth

-

ly

glide

smooth

-

ly

| on

glide

the

si -

lent

OATS AND BEANS OLD ENGLISH

bar

- lry gro*;-

THE THIRD STRING, G: FINGER-PLACING A (2nd Finger) (Whole step G to A)

Oo the

Guitar

On the staff

G AND A MARCH

E

@ 0

0

THIRD STRING MELODY ZoP Count:

2 j4 G STRING SONG 20

Counel 2 4

4

THE FOURTH STRING, D: FINGER-PLACING, E (2nd Finger) AND F (3rd Finger) (Whole step D to E, half step E to F) 2

Hffie

On the Guitar

On the Guitar

H:Ftr] i

On the

A2

staff

7F-=n .ff

C)n the staff

E

tr,

E

tr 3

D_E AND F MA RCH

E 0

FOURTH STRING MELODY

j I

D STRING SONG

MELODIES USING FTNGERS

oN THE D,

Learning the names and fingerings of the notes on this page

learn them.

(4th) AND G, (3rd) srRrNGS

will be most helpful in your later study of the guitar. Be sur€

THE KING'S CAROL

JUMPING JACK

IN THE MINOR

L2 r

4

FINDING OUR WAY

Count:L2r4

Do you know your fingering?

Count:1231

TESTING

to

10

THREE NEW CHORDS: G-D7 AND F (Do you remember the C and G7 chords on page 5?)

E

@ 0

03

2

L)

t

t

0 0

I

)

GBG rhe F-il

ACF$

and @ chords will

q l;.*J t;t F-l 0 0 3 l.9l GBG

*p:

a little extra

practice.

tnewl

o

i o E T=?.,8 o orq€),

chord G C E chbrd

AC Ffchord G B G

cirord

F, ,

i,gY++n

GCE

u

$$ft[

u,lE7l u i o tr

ACFchord GBF chord GCEc

lilh.A

E

zfi

E USING TWO NEW CHORDS IN A FAMILIAR SONG

tr

JINGLE BELLS

n

PIERPONT

Chords Think Count:

Jin

gle

bells,

_

- gle

gle aLl 302

bells,

Melody

-

the

WlY,

0'

ll FUN WITH SONGS TO PLAY CHORDS FOR THIS PAGE

g

@g

@E

Be sure you associate the correct fingering with the different chord names.

Slantine lines

W ^El

mean the chord is to be repeated on each beat of the bar until the next chord change indicated.

is

BLUE.TAIL FLY

@

MINSTREL SONG

BnnnFl

Chords Think C-ount:

Melody

LITTLE BROWN JUG

@ Chords Think Count:

Melody

t2

MORE SONGS TO PLAY USING THE C_F AND G7 CHORDS By this time you should know the fingering for these chords.

OLD MAC DONALD'S FARM

trE@

o

rel

AMERICAN TUNE

Chords Think Count:

Melody

B on this

chick,

chick,

Old

Mac

{arm

ev - 'ty where

here,

- don -

s

ald

DINAH

@ Chords

lE4

sourHERN soNc

1

rhink l

Count: \

Some-one's there with

kitch-

ru.toay (

en we

NB some -

one's there

with

Di - nah, we

know,

Di - nah, blow

your

horn, your horn.

know,

.11 MORE FUN WITH SONGS TO PLAY "Pick up notes" or the Up Beat lead in. Notes at the beginning of a song belore the first full bar are called ,,pick up notes,,. The

last bar of a song completcs the time value olthe first incomplete bar. observe the count carefully. Review fingering oinotes on the D and G strings on page B.

COMIN''ROUND THE MOUNTAIN

o

PLANTATION SONG

hords

moun- tain when she

comes,

when she

Melody

B com

- in' 'round

the

com

- in' 'round

the

moun -

tain when

she

tain, she'll

be

comes,

when

she

comes.

moun

She'll

-tain, she'li

G7

com

- in'

'round

the

moun

- tain when

she

Before playing "Buffalo Gals", be sure to review the G and D7 chords on page 10.

BUFFALO GALS

@, Chords

was walk - in' Melody

chanced to

down the street,

come5.

be

be

r4

MORE SONGS USING THE G AND D7 CHORDS (Refer to page 10 for diagrams)

BILLY BOY

have you have

have you

been

have

thing

0.r."

charm - ing

wife,

young

you

She's

the

Bil - ly

Bil - ly Bil

ly

big joy of

my

life,

She's

a

and

OH, SUSANNA

came from

os*

go in'

:

-'l

to

Lou It

si

Al - a

-

knee,

my

knee, I'm

_1' .

NOTE VALUES: SEMIBREVES AND MINIMS

In order to play a melody in correct time it is necessary to sustain

some notes longer than others.

up to this lesson you have

crotchets r J I which receive one count. we now learn that MINIMS and a SEMIBREVE receives four counts. been playine

fu d

Y'lx%"li'iT8

"o""

L2 j

recerve two counts

4

H'?xfT."H"$+s'fu

e

_4- 4:

counts in each bar. each crotchet receives one count.

MINIMS_TWO COUNTS EACH t

l3

i4

t2

L2

'4

,4

0

NIINIMS AND SBMIBREVES *

I

3

@) Count: I

2

, 4

t2t4 COMBINING THE NOTE VALUBS ALREADY LEARNED UP AND DOWN

UNCLE NED

t2 ,4 UP THE STAIRS

Count: I

t234 MELODY

r6

CHANGING THE PITCH SHARPS, FLATS,

AND NATURALS.

oF NOTES:

SHARPS AND FLATS

A sharp ( [ ) RAISES the pitch of the note to which it applies by a semit.ne or o'e the pitch of r rot. trf:u i.,o,ro,r. or one tret. * Natural Ih, ( b )( LOWERS A h ) restores the note to its original pitch.

fi-et.

LEARNING TO USE F r (sharp) Remember that each fret on the guitar denotes one semitone or one step. To play a whole tone or whole step you must SKIp one fret. To sharpen a note use the .,e*t higher fret.

gl

/44\ q9 PLAY THESE TUNES USING

FT

Recite letter names of notes before playing.

LITTLE BROWN JUG

GOOD KING WENCESLAS

t23t. GOOD NIGHT LADIES

a

COLLEGE

.t7 THE MAJOR SCALE A musical

scale is a successiort of notes from a gi'en note to its octave, eight notes higher. The lorm or progression of all major scales is as follows: Two whole tones' one semit.,ne, three wh.le tones, one semitone. The semitones come between the 3rd & 4th

andtheTth&Bthnotes.TheNATURALhalfstepscomebetweenE&FandB&C(seescalebelorv).

THE NATURAL OR C MAJOR SCALE (not to be played at thii time)

KEY SIGNATURES Sharps ( $ ) or flats ( b ) at the beginnine of each line relate to the key signature. These sharps or flats affect arr the notes or the same name throughout the piecJ.

ACCIDENTALS A sharp or flat which does not belong to the key signatr.rre is called an accidental. An accidental applies oNLy to the bar in *.hich it is placed.

LEARNING THE KEY OF G MAJOR (One sharp,

Ff

)

G MAJOR SCALE --

Count:

-.o- - - -?

L

:

-

- --ll-

---t-- --l* - {__.,^,

3$20$l

3

214

o2

@" 4 z '

FRENCH FOLK SONG 3_-

-- -- -*

*0

Count: | 2 i I t2 34 Hold 3rd finger down throughout

Think F

0 03

sharps and stretch your 4th finger.

LIGHTLY ROW

18

ADDING THE OPEN D (4rn) STRING TO THE G AND D7 CHORDS For review of these chords

see diagrams

on page 10. Strum all four strings with a down stroke.

rdd open D-:-:o oo

SONGS TO PLAY USING ABOVE CHORDS

RrG-A-Jrc OLD AMERICAN JIG

g

@

down the sreet, A

- lio!

heigh

- ho! heigh

-

SHOO.FLY, DON'T BOTHER ME

E

@ Chords Shoo -

Melody

fly,

don't

shoo

- fly,

don't

Fiol

heigh

19

A NEW RHYTHM: : TIME

3:

tlme means

4-

1

Three counts in each bar.

1

(

Each crotchet receives one count.

ADoTTEDMININ{/.;i,.q..uttothreecrotchetsandmakesafullbarin!time..ffi A TlE-or:zwhen sound.

connecting two notes of the same pitch or sound, combines the value of both notes into one continuous

r2 j ANDANTE WITH APOLOGIES TO HAYD\

LITTLE ANNIE ROONEY

lioL!\-\'

20

SONGS TO PLAY

IN I TIME (using four string chords) CLAPPING SONG

o Chords

/

rhi"k

I

M.r"dy

(

Count: \

-E

Way

down

in

DOWN IN THE VALLEY

@ Chords Think Count:

Melody

.E

@ Semibreverest i n

KENTUCKY MOUNTAIN SONG

n

n

E

2L

REVIEW: C-F AND G7 CHORDS SONGS TO PLAY CIELITO LINDO

(See page

l0)

FERNANDEZ

0r0

o

ffi tr

E

Chords

Melody

THE MAN ON THE FLYING TRAPEZE

@ Chords

fly

through the

move - ments

22

NOTE VALUES: QUAVERS A clrta'cr

is erqual

#

t.

one half the value of a

crotchet

Tw'o quavers

#:

ffi ----

ei;::.,.it,;re(lr,i'.|letffiFortrqtr:rvet.sffiequaloneMi'i,"F=andeightquavers +---r---L-_r --twer1rt:tltrttesemillrer.efr\qua,,.errest(?)receivesthesamecountasaquaver. -l'Try usinq tlic down and up ( y ) stroke on

repeated quavers of the same pitch when using the pick.

Observe carefully how to count (lliavers.

QUAVERS IN ? TIME

QUAVERS IN

i

TIME 2 nvnvrr

Frvlrvnn

l+2

YANKEE DOODLE

g

o

Chords

an Melody

- kee

doo - dle

rid - ing

ou

+ t4

23

"

SONG PRACTICE USING QUAVERS

D.S. AL FINE means to go back to the sign

(* ) and play to fine(encl).

LONG, LONG AGO

o

BAYLY

E

Chords

Tell

me rhe tales that ro

long, long a- go,

Melody

Sing

me the songs I " de

lcing, long

ow you are here, all my

a

- go, long a

Lbt me for - get

that

so

long you haveroamed,

CAMPTOWN RACES

sing dis

miles long,

ohl

Doo-dah

my mon-ey on

song,

cdmptown race rrack

Goin' to run all

de

24

NOTE VALUES: THE DOTTED.CROTCHET A

DorrED cRorcHET

is equal in time value to three quavers follows: Play line A, compare it with line B, then play line B.

(

J.

as

- J7-J

) obr.rrr.

(y)

carefully the count for these notes

(z)

A

o B

l +2 + a+4+ l+2

l+2+ t

r+2 + L 2

+

COMBINATIONS OF DIFFERENT RITYTTIMS

e6uq3; I

*2 *

n Couot:

n n n

'lvnvn

1+2+ j+ 4+ t+ 2 +,

n

rn I

rrur

Ft

4

L+2+ ALMA MATER guide to the chords you

will

tr

tr rrv - ers

Stands our no I

ble

use.

wa

-

ter,

COLLEGE SONG

with

its

waves of

2' ADDTNG THE 4th STRING (D) TO THE C_F AND G7 CHORDS New ldlchord

E

GC

New lGTlchord

New

E

fl

F

chord

AC

F

Be careful in placing fingers that they do not touch the other strings. FIRST AND SECOND TIME BARS' Play throrgh to the repeat barring at the end of the rst time bars. Return to the beginning i and, after bar 6, proceed directly to the znd time bars.

DEAR EVELINA

o

COL LEGE SONG

@

hords

Sweet

Ev -

e-

Melody

MY DARLING CLEMENTINE

@ Chords

dar

- ling,

Metody

and

gone for

"

€f,

dread - ful

oh my I dar

ling, Cle-

-tihe,

You

are

z6

SONGS TO PLAY USING CHORDS THUS FAR LEARNED

RED RIVER VALLEY

o

AMERICAN FOLK SONG

E

E

*Y-

- ,:---------- ---: -nH--*--

Chord

From

Melody

4+--

miss

t-

this

your bright

J"l

l.y

and

they

say

you

afe

that

has

E

t-

go - lng

r

We

will

your

girl

@ Chords

\7^y

turn -

ing

ev - er,

down up-on the

hbr's where the

way,

rltd

folks

^jt

Ohl

Dark-eys how my hbart grows wea-ry,

devXorld.ani

Ther's wheren-ryheanis

shd and drear.y

far from theoldfolksat

27

MORE FUN WITH MORE SONGS Using a new chord

FJI

{rt,rdv diagram)

HOME ON THE RANGE

g

1

tct

ffie

COWBOY SONG

E

Chords

me

a

home where the Buf-fa-lo roam, where the

Melody

CHORUS

HAVE YOU MEMORIZED THE NAMES AND FINGERINGS FOR THE CHORDS ALREADY STUDIED? TEST YOURSELF ON THIS SONG. BLOW THE MAN DOWN

2 Chords

It{elody

E

SEA CHANTI'

E_

28

HOW WELL DO YOU KNOW YOUR FINGERING FOR THESE CHORDS?

oLD BLACK JOE FOSTER

is young and

gay,

Gone are my friends

hear their gen-tle

SILENT NIGHT

Printed in England by Commercial Colour press, l/92 (13001)

Since the

publication oJthejnt A Tune A Day book more than 60 years ogo, this enduring series oJinstruction

guides has become the mainsay oJbeginner musicians and teachers alike. Ench book encourages the development oJa sound instrumentnl technique whikt giving an excellent grounding The presentntion oJthe books allows the student to progress ot o pace best suited

to

in

music theorSt

and enables him to

his abilities

reoch an advonced sage oJpe{ormance in the optimum time.

Eq"olly efectiveJor indiwduol or Broup studSt, the books embrace most instrumens oJmodern musical combinationsrJrorn Flute to French Horn andJrom Saxophone n Sousaphone.

AcconoroN

ErEBb BAss or. SousapuoNr

Book One

Book One

TnoNrsoNr

Flurr '

BnNto

oR.

EupHoNruM

Boss

CleJBook One

Boss

CleJBook Two

BookOne

Book One

BookTwo

Tnol,rsoNe on EupHoNruM

Repertoire One

Treble CIeJBook One

beble CleJBook Two

BassooN

Fnr^*cs HonN on TrNon Honr.t

Book One

Book One

Tnunprr on ConNrr

Crrlo

Gurren

Book One

Book One

Booh Two

Book Two

BookTwo

Ensemble One

Repertoire One

Repetbire One

CremNrr

Manrnra, Xvt-opgoNr aNo Brrrs

Book One

Vrore

Book One

Book Two

Booh One

Ensemble RePo-r1oit"

Book One

BookTwo

Osor

6n"

Book Three

Book One

Cnssrcnr Gurran

SnxopsoNr

Book One

VrouN

Book One

Book Two

Book One

Book Two

Booh Two

Book Three

Book Thrce

fupertoite One

C' Paul Herfunh , author

Graduating

llthough

best

1

Book One

P ia

Book Two

P io no Accom pa ni m

BookOne

Ploying String Bas

oJ

theint

titles to be published, later enlisted the semices oJ Hugh

ll

893, HerJurth begon violin

in l9l6, hisint knownJor

his

Beginning Scale Book

Dnuus

Howard Born in

SrruNc Bass

Peterson (Mollet Percussion) as associate lessons

at the age

oJ seven

A Tune A Day

b ooks,

Helfurth

M. Stuart (Woodwind),

wilets n expand the instumentnl

ln I922

he moved

a

yeor

to

beJore

coverage oJ the books

entering the

New England Conservotory oJ Music

in

I9II

.

NewJersey and organised that snte\JtrstJull instrumennl music program.

llillililllllilruilililll ilflfiilflil ISBN 0.7 l 19. l 570.9

O ne

ts Two

Vernon A. Miller ond Herbert A. Mattick (Brass) and

hos olso edited and arronged many collecionsJor violin, cello and viola

OrderNo. BMl0199

en

Repermire One

and studied in Germanyjor

school Position was at Asheville, North Carolina.

no Accompa ni me nts

with

piano.

He

now ;ives in retirement in Florida.