Richard Pick

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R I C H A R D P I C K

S c h o o l o f G u i t a r

Volume I

T h e Gu i ta r

in

Pedagogy

Practice

Performance

Editions Orphee



R i c h a r d P i c k

S c h o o l o f G u i t a r

The G u i t a r

i nPedagogy - Pra ct ic e - Pe rf ormance

—*m*—

Volume I

Editions Orphee

Columbus



Table of Contents

Volume IPre face v i i

A Word f r om the Pub l i she r v i i i

I n t r o d u c t i o n x

B o o k I

T h e N a t u r e o f t he G u i t a r x i i

T h e R i g h t H a n d x i i i

T h e L e f t H a n d xx i i

Prac t i ce Ro u t i ne xxv i

C h r o m a t i c Ca l i s then ics x x v i i i

B o o k I I - T h e S h a r p K e y s

C Ma jo r - A m i n o r 1

G Ma jo r - E m i n o r 20

D Ma jo r - B m i n o r 36

A Ma jo r - F* m i n o r 50

E Major - C # m i no r 62

B Major - G # m i no r 77

F* Major - D # m i n o r 89

C # Major - A # m i no r 102

Volume IIB o o k I I I - T h e F l a t K e y s

F Ma jo r - D m i n o r 118

B b Ma jo r - G m i n o r 134

E b Ma jo r - C m i n o r 149

A b Ma j or - F m i n o r 166

D b M aj or - B b m i no r 181

G b Ma jo r - E b m i n o r 196

C b Major - A b m i no r 206

B o o k I V

A p p e n d i x A - Ch o r d Nom e n c l a tu r e 2 17

A p p e n d i x B - S ing l e S t r i n g Scale Pat ter ns 220

M o d a l Scale C o m p a r i s o n s 221

A p p e n d i x C - Ch o r d F o r m s a n d T ype s 222

I n d e x o f I n t e r lu d e s a n d O th e r Se l ec t i ons ( In order o f key s e q u e n c e ) 243

Glossary o f mus ic al te rms 246

On e Day I n T i m e Sui te 250



P R E F A C Egenera l i n te nt and purpose o f th is School ofGuitar is expressed i n its subt i t l e , viz; Pedagogy, Practice an d

per fo rma nce . It is an earnest endeavor to prese nt a logica l, compr ehen siv e an d systematic appr oac h to the

gui ta r by prov id in g study mate r ial o f a pract ical an d pe rma ne nt nat ure. Th e two volumes cons t it ut i ng this

w o r k are i n ef fect the c u l m i n a t i o n o f the author 's previous publ icat ions for guit ar i n s t r u c t i o n whi ch conta ined

ma te r i a l encompassing from the beginning to advance study. These books featured both a chromatic and

d ia t on i c ap pr oa ch to th e in st ru me nt , wh i c h in cl ud ed a system of fingerboard ha rm on y, a system of scale

pat t e rns invo l v ing chroma t ic and d iaton ic scales applic able to all keys an d posit ions on t he fi nge rbo ard .

T h e previous mate r i a l has been e xpanded i n greater deta i l a n d l eng t h to i nc l ude a l l ma jo r keys a n d the i r

relative mi no r. Mo st of the studies, compo sit ions a nd exercises have r em a i n ed w i t h i n the bounds of d ia ton ic

harmony . However , a tho ro ug h bac kgr oun d i n the tradit ional system sho uld prov ide a f i r m basis for the

co mpr eh en si on of ne wer systems, such as, serial music, non -t ona l musi c, the use of t ri ch or da l structures,

polychords, etc., etc. These systems pro pe rl y req uir e a me th od specifically devo ted to ex pl or in g the

possibiliti es a nd li mi ta ti on s i n th ei r ap pl ic at io n to the fingerboard o f th e gui tar.

T h e tex t i s n o t des i gned n o r i n t en de d f or the novice o r y o u n g be g i n n i n g s tudent o f the gui tar ; however,

once past the i n i t i a l stages of study it can be used as ma nu al or me th od solely an d/ or w i t h supplementary

ma te r i a l an d repe rtoi re. For the professional artist, per for mer , a daily selections of diff ere nt keys sh ou ld ho ne

faci l i ty in sight reading skills. Furthermore, slow, careful and persistent review of the various keys provide a

f o u n d a t i o n on which to select a var i ed repertoi re an d generate conf iden ce f or pe rf or ma nc e i n diverse keys.

T h e final desig n o f the text evo lved over several years by testing the material in a teaching environment

i n order to achieve the most ef fect ive format. Many students of v a r y i n g degrees of prof ic ien cy o n thei r guitars

were i n ef fect par t ici pants i n the devel opme nt of the project , their positive responses wer e con sid ere d factors

i n th e org ani zat ion o f the subject matter. Especially hel pf ul was J o h n Ke nn a wh o st udi ed an d played the

various pieces and Inter ludes in actual per formances. A lso Michael Kurtz provided invaluable assistance in

tea chin g an d ense mble activities at De Pa ul Universit y i n ad di ti on to par ti ci pat in g i n test ing the effectiveness

of this mat er ia l i n Maste r Class presenta tions.

Interspers ed t hr ou gh ou t the text are short sketches enti t le d Interludes. Th ei r or i g in al purpose was to

i l lustrate cer tain appl ica t ions of melodi c, ha rmo ni c or technical nat ure i n a recre at iona l fo rma t. As more of

these sketches w e r e composes they d eve l oped a di rec ti on of th ei r ow n as mi ni at ur e impre ssio ns of places,

scenes an d activities recal led.

Ur ge d by teachers an d students to in cl ude descriptive com me nts for these sketches an d also the larger

pieces, I f ou nd the muse sometimes i l lusive. I n those instances Kr i s t in Vond rus ka' s tal ent for poetic expression

was genu ine ly appreciat ed an d aide d d i rec t l y i n an nota tio ns fo r various Inte rlu des . I n ot he r instances, favorite

quotat ions f ro m Ralph Waldo Emerson Essays were d rawn wh ic h seemed pe r t i nen t to the sp i r i t o f mus i ca l study

a n d to over-al l universal tho ug ht an d observat ion.

Foremos t a mo ng those persons to w h o m I am most grateful ly ind ebt ed is, fr ie nd, co l l eague and partner

i n gu itar du o per fo rmanc es, Patr ick Ferer r i , wh o devoted countless hou rs i n appl y in g his genius i n of fer ing

pract i ca l suggestions, su ppl yi ng research materials an d pr oo fi ng to detect oversi ght an d omissions i n not at io n

a n d fingering. Th is task was real ize d by re ad in g t hr o ug h the ent ir e ma nu sc ri pt , a gest ure sure ly above and

beyond the service o f a fr iend.

T h e mos t r eward i ng exper ience i n a teaching care er is the pr ivi lege o f hav ing k n o w n spe cial individuals

wh o came as student s a nd re ma in ed e nd ur in g friends . Th ei r names are here in cl ud ed as an expression of

my d e e p rega rd for the ir constant suppor t an d fr ie ndship. Jo hn Tokarski was the first to receive his Masters

i n g uit ar at de Pa ul University, fol low ed later by An it a Fiel d, Step hen Suvada an d Ly n Vallow. Ri ch Fiasco's

i n s p i r e d enthusiasm cont inues unabated over time and distance. Regina Martinez in previous years was a

freq uent par tne r i n two guita r per forma nces, alon g w i t h Shirley Foote and Susan Gulick. These and many

ot he r gif ted stude nts of th e past years shall re ma in in my fondest recoll ectio ns.

Final ly, special ackn owle dgeme nt an d en co mi um are due to my studen t Matany a O p h e e who has earned

a n i nte rna tio nal re put at io n as scholar, entrep rene ur an d one of the fore most autho r it i es on the guitar .

Ophee ' s indefat igab le zest for research an d insistence o n accuracy co nc er ni ng persons a nd hi st ory su r r o und -

i n g th e gu it ar mu st surel y en ha nc e its accept ance as a maj or i n s t r u m e n t . I t is assuredly a dist in ct priv ile ge to

be incl ud ed i n the new an d ex pan di ng publ icat ions of Edit io ns Orp hee .

Richard S.B. Pick

vii



A Word from the Publisher

I t i s a un i qu e p r iv i l ege t o p resent i n p r in te d fo rm , the knowledge, exper ience an d creat ive insp ir at io n of my

teacher R ichard P ick . The b read th o f pedagog ica l w i s d o m encompassed i n these pages, i s unp rec ede nte d in

the history o f the guitar . H e r e , f inally, we ar e given a practical means t o escape the con f in eme nt o f the f ew

so-called " favorable" keys of the guitar. This is the first pr agm at i c s trategy to wa rd the acq uis i t ion of wor kab le

s ight-reading sk i l ls o n t he guitar , an d i t w i l l conclus ive ly enab le gu i tar i s t s t o earn the i r p roper p lace in th e

family of music.

S tudy ing the gu i tar w i t h Ri ch ar d P ick was a un iq ue exper i ence , as can be attested by the many students

wh o ha d this pr iv i l ege over the last 50 years. Wh e n I first came to study w i t h h i m i n 1960, 1 already consi dered

mysel f an acc omp l is hed p layer. On his first l is t eni ng to my p lay ing , Ri ch ar d P ick lo ok ed at me straigh t i n the

eye and said:

' That ' s no t bad , but i f you wan t to s tudy w i t h me, we w i l l s tar t f r om the beg inn ing . Th e process o f l e arn ing

d e mand s muc h unlearning. We shall cover t h e g r o u n d f r o m zero t h e r e b y guaran t e e ing tha t we bo t h speak

the same l anguage. Take i t o r leave i t . "

I to ok P ick on his term s. I n the two years tha t I spent w i t h h i m , I also b e c a m e a com pet ent p layer wi th

above average s i gh t - read ing skills. My wi l l ingness to accept Pick's app ro ac h t o the gui tar an d i ts pedagogy was

because I also spent a consi derab le po rt io n of my l i fe f ly ing airp lanes an d tea chi ng othe rs ho w to do i t .

T h e process o f teac hi ng, i n ma ny disparat e discip lines , is essentially simila r. However , there is a vast

d ispari ty i n the latitudeihe teacher may assume in any g iven d isc ip l ine . In the teaching of music , teachers may

f ree ly indu lg e in any nu mb er o f theor ies , inane dogmas, superst i t ions, p seudo sc ient i f ic theor ies an d oth er

alchemies or any co ngl om era t io ns of h istor i cal an d aesthet ical b lather. Thi s does no t subject th em to any

penalty and causes l i t t l e or no damage to the students. I f y ou r p a r t i c u l a r me t ho d o l o gy w o rk s , t h e n t h e y wil l

become go od mus ic ians . But i f i t does no t , they wo ul d have only lost time an d money . T h e y c o u l d also become

exce l lent music ians in spite of it. I n the t each ing o f f l y ing , know ledge can be t rans fer red f r o m teacher to

s tudent on ly in d i rec t re ference t o the rea l wor ld . I f the s tudent p i lo t does n o t l e a rn t o fun c t i on p ro mp t l y

and e f f ic ient ly and in perfect harrnonyv/ith the physical laws of h is en v i ro nm en t , i f h e does n o t l e a rn t o recognize

the precise character is t ics o f the a r t i f i c i a l ins t r ume nt he in tends to operate , as it was designed and built and i f

he fails to grasp t h e f u l l me an i ng o f t he c omp l e x symbology used in av ia t ion , no t on ly he would have wasted

t ime and money , h e w o u l d also mos t certai nly expir e . You e i the r b e c o m e a g o o d p i l o t , o r you become,

inevitably, qu it e de ad.

T h e im p l i c a t i o ns o f th is analogy are clear: the teac hing of a mu lt i fa r i ou s d isc ip l ine such as music

per fo rmance , can achieve i t s m a x i m u m effectiveness i f i t is taught as if the student 's l i fe d ep end s on i t . That

means tha t in the process o f pass ing knowledge, the in te l l i gent t eacher shou ld ensure tha t th is knowledge

wi l l enab le the s tudent t o func t ion p rompt ly and e f f i c i en t ly and in perfect harmony with th e phys ical laws of his

env i ronment , l earn to r ecogn i ze t h e precise characterist ics of the ar t i f ic ia l i n s t r ume n t h e i n t e nd s to operate,

as it was designed and built and to grasp the f u l l me an ing o f t h e c omp l e x symbology used i n music .

Most o f the met ho ds pr in te d i n the last thre e centuries , were addressed to the ind iv id ua l s tu dent d irect ly .

Often they were c l ear ly d es i gned t o bypass the teacher entirel y, even i f on e was ass umed to be usi ng th em .

Most senza-maestro m e t h o d s were des igned as comm erc i a l endeavors, a n d were n o t e x p ec t ed t o p ro duc e mor e

than a bas ic ins t r um ent a l p ro f i c i ency .

T h e psycho log ica l i n t e r a c t i o n p r o v i d e d by t h e s i t ua t i on o f a g i ven teacher a n d a g i ven s t ud e n t is u n i q u e .

I t can never be dup l i c a ted . A m et ho d boo k cann ot poss ib ly address itsel f to al l possible teacher -student

combinat ions. Yet , tha t does no t p reve nt man y authors o f met ho d books f r o m i n s i n u a t i n g themselve s betwee n

teacher a nd stud ent l ike an inv is ib le bu t constant ly present ent i ty . Profess ional gui tar teachers are com pete nt

a n d knowledgeab le an d the y can trans fer the ir store of know ledge a n d exper i ence without the ai d of someone

else wh o is no t prese nt i n the music studio , the me t ho d writer .

R i c h a r d Pick's School ofGuitaris n o t a me t h od b ook in t h e t r ad i t i ona l sense. I t assumes t he presence of a

knowledgeab le teacher. I ts ma in t h ru s t is to prov ide b o th teacher a nd studen t w i t h p rac t i ca l mate r ia l wh ichcan be used in bu i l d i ng a so l id und ers tan d in g o f the com p le x symbology used i n gu i t ar mus ic . Nevertheless,

i t co ul d be use d as a self-study ai d i n the acq uis it i on o f f ingerboard h a r m o n y a nd sig ht- rea din g skills, p rov ided

the indi v i dua l user already possesses g o o d t e chn ica l co mm an d o f the in s t r um en t an d a basic un ders tand ing

of music theo ry.

vii i



Bo ok I is an overv iew o f the probl ems enc ount ere d in the pedagogy of th e guit ar. Th is sh or t tex t is mean t

to he lp teachers i n f or mu la ti ng for themselves a nd for th ei r students a pract ical strategy i n org ani zin g the

tea chi ng activity efficiently. I t does not presume to t e l l the teacher how to ply his trade, but attempts to

crystallize the ma i n pr obl em s as they ha pp en i n the real wo rl d. Th e b ri ef discussion o f tec hni que is meant

to descri be t he basic ele ment s o f s o u n d pr od uc ti on on the guitar . Al th ou gh the d iscussion of t e c h n i c a l matters

assumes the classic guitar, the musical material included in these pages is equal ly applica ble to othe r

i n s t r u m e n t s of the gui ta r fami ly played w i t h a p le ct rum .

Boo ks I I a n d I I I are ded ic at ed to the sharp an d fla t keys respectively. Ea ch key is pre se nt ed i n a grad uat edexposition of basic scales i n the first posit i on, a cadence of the pr in ci pa l chord s, an exte nde d scale, the scale

i n tr iads i n all possible inve rsions in bot h op en an d closed voicings, a similar tr ea tme nt of al l seventh chords

o n the scale, ending w i t h a series of resolution studies. Each section includes a short recreational Interlude

w h i c h rei terates the pr in ci pal ha rm on ic and melodic attr ibutes of the mater ial .

The r e are many ways this ma ter i a l c an be used by the te acher. A l t h o u g h the keys ar e presented according

to the circle of fifths, the mat er ia l co ul d also be trea ted chr omat ica lly , i.e., C, C#, D^ , D, an d so f o r t h . The

ima gin ati ve teac her may pres ent th e mat er ia l to a giv en stu den t ei the r vertica lly, i.e., on e key at a time f ro m

to p to bo tt om , or hori zon tal ly across the book , deali ng w i t h a pa rt ic ul ar aspect o f each key i n a dia ton ic o r

chromat i c sequence. The unde r ly ing pr inc i p le i s that i t is th e notation o f gu i t a r music, p a r t i c u l a r l y in the mor e

d is tant keys, which poses the ma in obstacle i n trans lati ng the wr it te n or pr in te d musi c in to the physical

movements that prod uce soun d. Wi th ou t using the ope n str ings, the movemen ts re qui re d for the executiono f mu si c i n th e keys o f C $ or , are the same as those re qu ir ed fo r music in the key of C. T h e no ta ti on is

mo re c omp le x, hen ce the diffi cul ty expe rie nce d by man y i n sight-r eading music in these keys. Systematic

dri l l s lea ding to a prof ici ent under sta ndi ng of al l possible c ho rd for ms an d the contex t in wh ic h they are

f o u n d , canno t f a i l t o enh anc e the player 's rec ogn it io n of these form s as they occ ur in a musi cal c ompo sit ion

a n d enable h i m to instantane ously translate these wr it te n or pri nt ed sequences i n t o th e co rr ec t fingering

r equ i r ed f or t he ir exe cut ion . Sight read in g facil ity, a majo r weakness i n the fo rm at io n of mos t guitarists, is

thus rendered an achievable sk i l l wel l w i t h i n the grasp of the assiduous student.

Bo ok I V cont ains several indexes a nd glossaries d eal ing w i t h music the ory and the par ti cu la r matt er of

the bo ok itself. Ap pe nd i x C i n parti cular , is a co mp en di um of fingerboard ha rm on y exercises i n wh ic h the

a u t h o r org ani zed systematically the ch or d for ms and types wh ic h are based on the to pog ra phy o f the

fingerboard a n d the physical attr ibutes of the hu ma n han d. These exercises can be used as supplemental

dri l l s to the main body of p edagog i c matter of the book.

Th i s bo o k conta ins ma ny p ieces of a larg er scale, as we ll as several tr ans cri pti ons o f we ll -k no wn and n ot

so wel l-known p ieces from the general repertoire. Both the or ig inals and transcr ipt ions were selected so as

to allow teacher an d stu den t to b u i l d up o n and to enhance th e technical mater ial covered. Th e ma in conc ern

i n m ak in g the tra nsc ript ions was to modi fy th e music so that it is i n f u l l musi cal an d pedagogi cal agreeme nt

w i t h the contex t of this book, p rov id ing a th oro ug h unde rst andi ng of the stru ctur e of a piece.

I n his art icle on the hist ory of Amer ic an gui tar methods, (The Guitar Review, Ne w York, 1959, N 9 23, p. 30)

J o h n C. Ta nn o h a d thi s to say:

"It is significant that between the period 1924-1952 no new American guitar methods were written or published in

this country. In 1952, RICHARD PICK, eminent guitarist and composer brought his 'First Lessons f or ClassicGui ta r , " published by Forster Music Publishers, Inc., Chicago. Pick's Method is the first American classic guitar

method written since 1924. This work is a stimulating and original endeavor and is written in the modern music

idiomfor the guitar ... [ i t ] represents the ultimate in modern classic guitar and ushers in a new era in the modern

guitar idiom"

S om e of Richard Pick's earlier books are no longer in p r i n t . I t is fervently h op ed that thi s ne w wo rk by

Ric har d Pick, the cul mi na ti on of a teachin g an d compo sing career spann ing mo re t h a n 50 years, w i l l finally

b r i n g Ame r ic an gui tar pedagogy to the level of professionalism l on g enjo yed by ot he r ins t rumenta l i s ts i n our

conservator ies and colleges.

Matanya Ophee

i x



T E A C H I N G C L A S S I C G U I T A R

I N T R O D U C T I O N

I n the elegance o f it s f o rm an d th e e c o n o m y o f its des ign , th e classic gu it ar is as si mp le as a canoe. E x t e n d i n g

this analogous compar i son somewhat fur ther , the gu i tar can peruse s t i l l waters of expressively qu iet music or

p lung e th ro ug h the rapids of mo re spectacular work s. Whatever course is pur sue d d epends solely o n the skill,

mood , and exper i ence o f the per f o rm er .

Here i s one o f the mos t in t ima te an d natur a l o f mus ica l ins t rum ents , in dep en den t o f e l ec t r i ci t y w i t h its

acco mpany ing wires an d ampl i f ier s . I f the p o w e r s h o u l d fa i l or the fuses blow, the classic style guitar can st ill

be heard , and the pure un f i l t e red tones can be savored by any who care to l isten.

Am on g t h e many r e w ard i ng exper iences i n teac hin g o r p lay ing c lassic guit ar is the versat i l i ty in he re nt to

this s ty le o f pe r fo rm in g o n the ins t r ume nt . O f a l l the many co nte mpo rar y var ia t ions o f gui tar , non e has qu i t e

encompassed the range an d de pt h of music al express ion at tainabl e on the c lass ic guitar .

T h e t e r m "c la ss ic " is pe rhaps u n f o r t u n a t e a n d somet imes mis l ead ing i n that the wo r d i tse l f tends to

conno te no t onl y a speci f ic type of guit ar bu t also tha t onl y "c lass ical " music is int r in s ic to the ins tr um en t .

Th is assumpt ion c o u l d be a n i n h i b i t i n g factor to those wh o are not par t ic ula r ly inter ested i n pu rs ui ng ser ious

music as a career o r w ho associate onl y rec i tal pe rf or ma nc e as reason fo r s tudy.

M u c h to the contr ary , the classic gui ta r is un iq ue ly effective in s imp le pieces p layed fo r one 's ow n pleasur e.

I t is also an i d e a l i n s t ru me n t f o r t h e ac c omp a n ime n t o f t r ad i t i ona l f o l k songs, s t and ard p op u la r songs, and

art songs, as well as for duet playing or ensemb le p a r t i c i p a t i o n w i t h o ther ins t ruments .

I n a dd it io n, study o f the classic gu it ar can be an inva lua ble a id to any genre o f guitar p lay ing. Study on

this ins t ru men t p rov ides i n -de p th ins ights in to the fun dam ent a l n atur e o f the gu i tar an d generates mo re

in te res t ing an d or ig in a l mus ica l ideas tha t can be ap pl ie d to any style o f guita r. Moreover , i f a pat ie nt , receptive

a t t i tude is mai n ta ine d towa rd deve lo p ing a deg ree o f skil l i n p lay ing an d teachi ng t he guitar , i t can ad d

immeasurab ly t o pe rsona l fu l f i l l men t an d qua l i t y o f l i f e .

I

T H E I N I T I A L S T E P S

I t is surpris ing how seeming ly prosaic items as music stands, foot rests, and suitable chairs can become

imp or t ant fac tors fo r ma k i ng p rac t i ce an enjoyable adventure ra t her tha n an unc omf or t ab l e chore .

Most guit ar per for mer s favor p os it io ni ng the gui tar o n the le f t leg midwa y b e tween the knee and h ip wi th

the left foot elevated about s ix inches, more or less, by a foot rest. G o o d posture is enco urag ed by sitt ing well

fo rwa rd on a straigh t chair . A s impl e ru le to apply is to al ign the p layer 's c hi n, the top up pe r bo ut o f the

guitar, the l e f t knee , an d l e f t foo t . The in s t ru me nt i s thus n ice ly ba lance d a l lo w ing fo r a m i n i m u m o f ho ld in g ,

g i v in g b o t h hand s max imum f r e ed o m o f move ment .

Relatively inexpensive guitars o f g o o d q ual i ty are readi l y avai lable ; hence , the in i t ia l out lay o f large sums

o f money is no t necessary, especially f o r the beg in n i ng s tudent . An y mus ica l in s t ru me nt shou ld be eva luated

for its un iq ue an d in di vi du al character ist ics a nd no t necessarily f or its exot ic n am e o r its pri ce tag.

A n o t h e r in i t ia l step o f te n insuf f ic ie nt ly s tressed is a th or ou gh expl an at i on o f music nota t i on a nd

termin ology. Musi cal terms are a new a dd it io n to a student 's vocabulary, an d an un de rs ta nd in g of the essent ial

rud imen ts i s im po r t an t fo r es tab l i sh ing c l ear ve rba l com mu ni ca t i on between s tuden t an d teacher.

I I

M E T H O D S

A me th od is , o f course , necessary as a ma nu al for deve lop ing a systemat ic pr oce dur e of s tudy. I n addi t i on

to the tra di t i on al texts o f the late 1 8 t h an d 19 t h c en tur ies s t i l l i n use, ma ny new publ i cat ion s have become

readily available, especially since 1950 .

Teachers o f guit ar general ly a nd unde rst and abl y use met hod s they are mos t fam il i ar an d comf ort able

wi th and tend to avoid us ing any new or chal lenging approaches t o gu i tar pedagogy.

x



The r e are some met hods used whe rei n the authors ind ulg e in "spoon-feeding" the student and apparentl y

presume to i ns t ruc t the in st ruc tor as well . Thi s type of app roa ch c an verily stult i fy a teacher' s prerogat ives

a n d relegate h i m to a mere page tu rn er an d assignmen t dispenser.

However, regardless o f wh at me t ho d one chooses, i t wou l d seem p e r t i n en t t h a t respo nsib le teachers be

knowledgeable w i t h as many methods as possible and have these in thei r musi c libr ar y for objective evalua tion

a n d co mpari son. Mos t such publ ic at ions cost less t h a n a single lesson fee, a nd at least on e use ful idea c ou ld

be glean ed for the overall tea chi ng expe rienc e.

A m e t ho d is a tea chi ng aid or to ol, an d as w i t h a ny too l it is, fo r th e most pa rt, n o bet ter or worse than

the indi vi dua l usi ng it. Ideally, a me t ho d sho ul d be compr ehen siv e technicall y, theoretical ly, an d musically,

thereby enabling a student to deve lop an enthusias m for le arn ing a new skil l an d to achieve musical matu rit y

i n i mag inat ion and inte rpreta t ion .

x i



B O O K I

i

N A T U R E O F T H E G U I T A R

f u n d a m e n t a l charac te r i st i c o f an ins t ru me nt , whe the r i t be a bowe d , w in d , pe rcuss ion , o r keyboa rd

i n s t r ument , is obv ious ly the mos t im po r t an t s ing le fac tor de t e r mi n i ng the speci f i c t echn i ques re qu i r ed to

play i t effectively.

Yet, i n spite of its l o n g histor y, a n exac t eva lua tio n of the specific na tu re o f the gu it ar has rar ely beenc lear ly de f ine d. I t has genera l ly an d vaguely b e en desc r ibed to be a "p lu ck ed " in s t ru me nt , the s tr ings be in g

act ivated somew hat i n the ma nn er o f a ha rp .

Almost inev i tab ly , the f i rs t t enden cy o f the be g i nn in g s tude nt i s t o " c lu tch an d p u l l " at the strings w i t h a

r esu l t ing noisy, t h i n , and a l t oge ther unp leasant t one . Indeed , th is first t en dency has f req uent l y been

ra t iona l i z ed an d fo r mal i z e d as the re co mm en de d t ech n iq ue fo r the r i gh t ha nd , thus b l i t he ly suspen d ing the

physica l laws o f t one p r od uc t i on .

T h e p r i n c i p a l character ist ics t ha t d e t e r m i n e t h e speci f ic t e chn iq ues r e q u i r e d a n d t h a t ef fectively descr ibe

the nat ure of the gui tar may be c lass if ied in to the fo l lo wi ng thr ee categories.

1. Th e gu i ta r i s a pe rcuss ion in s t r um en t .

2 . Th e gu i ta r i s a chr oma t ic ins t r um en t .

3 . Th e gu i ta r i s a po l yph on i c in s t r um en t .

1.

T H E P E R C U S S I V E N A T U R E

T h e gu i ta r is es sentially a pe rc uss i on i n s t r u m e n t ; hence t he str ings are , for th e most p art , s tr uck ra the r tha n

p luc k e d . T o Pluck i s by de f i n i t i o n to pull, o r pick off o r out, also t o jerk, tivitch, or to twang as the str in g o f an

archery bow.

So un di ng a gu ita r s tr ing i n th is fas hio n al lows the str i ng mo re time to "wr ap " i tse l f a ro u nd the finger at

the point o f contact , to such a degree, that a d is tor t io n occurs p r od uc in g a g reat nu mb er a nd in tens i t y o f

h igher par t ia l s an d f reque ncy bands a ro un d the fun da men ta l , res u l t i ng i n a t h i n and noisy tone.

To strike, o n the cont ra ry , imp l i es t o touch o r hit w i t h v a r y i n g degrees o f force , thu s caus ing a str ing to

sound. By this ac t io n the re is less time fo r in ter fer en ce o r "w ra pp in g" since the finger t i p sweeps across the

str ing w i t h g r e a t er m o m e n t u m and v el oc it y. H ence , there is less d i s tor t io n i n the s t r ing ' s v ib ra t io n resu l t i ng

i n a tone o f grea ter c lar i ty a nd stre ngt h.

I t is obvio usly dif f i cu lt to def ine sha rpl y or describe th e exac t acti on o f th e fingers f r o m one in sta nt to

ano ther s ince fingers are re ma rka bly f lex ib le a nd subt ly versat i le as co mp ar ed to the r i g i d mec han ism s o f the

p iano or har ps ic hor d . Thu s , in some techniques and for spec ial effects t h e r e w i l l occur g reate r o r lesser

degrees o f "p lu ck in g " w i th ou t sharp dema rcat i ons i n the ac t ion o f the fingers, bu t ra t her t rans i t ion f r om

strictly p lu ck in g ac t ions, t o par t ia l p l uc k i ng , t o s t r i k ing , t o the pu re percu ss ion o f rasp in g s trokes , as in the

rasgueado.

2.

T H E C H R O M A T I C C H A R A C T E R I S T I C S

T h e simplest, m os t obv ious ly l og i c a l scale o n the gu i t ar f in ger boa rd i s the chrom at i c scale. Yet curiously this

very un iq ue character is t ic o f the gu ita r has no t b e en t ak e n advantage o f in t each ing the ins t rument . Mos t

methods a nd ins t ruc to rs t reat the gu i tar d ia ton ica l l y an d in t ro du ce chro mat ic s igns on l y th ro ug h key

signatures.

However, i t is pat ent l y s impler , even for very young students , to p lace each finger i n ch ro ma ti c sequence

on the fingerboard ra th er t ha n sk ip pi ng ce rt ai n frets. I f at th e same t ime all th e ch ro ma ti c signs are ex pl ai ne d

i n t h e b e g inn ing stages, m o r e r a p i d progress is ach ieved in bo th read i ng ab i l i t y an d overa l l com pre hen s io n

o f th e gu it ar fingerboard.

T h e ear ly g u i t a r m e t h o d s were wr i t t en du r in g per iods wh en mus ic was s t rong ly d ia to n ic , an d unders tan d-

ab ly a d ia ton i c approa ch wo ul d have b e en i n k e e p i n g w i t h the times. However , i n mo re rec ent a nd

c on t e mp ora ry mus i c w i t h the g reate r emphas is on chr omat ic i sm s an d atona l i t y , a chr oma t ic appr oach to

guitar p l ay ing w ou ld seem t o be mor e ap pro pr i a t e an d p rac t i ca l fo r a l l purposes .

x i i



T H E P O L Y P H O N I C C A P A C I T Y

gi l i ts i r is e m in e n t l y ef fect ive as a |M>lyphonic as wel l as a ha rm on ic i ns tr um en t capab le o f hav in g m o o r

m o r e voices so un de d s im ulta neous ly is in a fugu e o r ca no n. Th is capacity o f the gui tar bo pr od uc e voice

sepa rati on ma kes it especial ly ef fect ive in the co nt ra pu nt al music o f the bar oq ue per io d as wel l as the music

of late i per iods, i nc lu di ng [ l ie dem and s o f the co nt em po ra ry music o f the present day.

n .

T H E R I G H T H A N D

T h e classic g u i t a r is o ne o f t h e le w s t r inged i n s t r um e n t s played c n t i r e l v w i t h o u t an ar t i f i c ia l a id such as a

bow, key, keyb oar d or mal le t . Th e r ight ha nd f ingers must assume the ro l e o f a so un di ng mec han ism ;

there fore , cons iderab le a t t en t ion w i l l need to be focused on this aspect o f c lass ic guitar technique.

H i t t h u m b an d thr ee fingers a r c i m -d to ac lrvate t i le s tr ings, the l i t t le o r fifth finger is ge ne ra ll y no t use d

bv mosi plavers w i th th e ex ce pt io n of its use in ce rt ai n rasgncado passages mo r e c o mm on t o Ih c l l ame i i c o

guitar . Us ing the f i l t h l ing e r fo r no una I p l ay ing necessitates increa s ing the be nd or cucve of the other l ingers,

thus encou rag ing a p l uc k i ng or c lu tch ing ac t io n ra the r th an a percuss ive s t roke .

F inger ings lor the r ig ht ha nd are most co mm on ly ind ica ted hv le t ters its fo l lows:

T h e T h u m b ( po l ex ) is in di ca te d as p

T h e I nd e x ( indices) is in di ca te d as i

1 h e M id d l e (med ius ) Is ind i cate d u in

T l i e A n n u l a r (a i iu la r is ) is i nd i c a te d as a

T h e F i f th ( m c n i q u e ) . w h e n used . V i n d i c a t e d a s q { o r e )

F ingerna i l s are an im po r t an t fac tor in t one p r od uc t i on : however beg inner s h ad best k eep nails very sho rt

at the outset an d onl y gra dua lly increase the ir len gth s as the fingen are bro ug ht un de r co nt ro l.

T h e r c c o t n in en de d le ng th is a relatively sho rt nai l a l lo win g lo r bo th the f in ger t ip flndthe nai l to contact

the su in g; hence , the nai ls ex te nd only s l ight ly beyo nd the f inger t ip and are care ful ly f i le d , hu l l ed , and

po l i shed in to the shape p r od uc in g the c l eares t t one . Wh en we lt gu mm ed , the shor te r na i l is also s ignificantly

stron ger . mi l far less p ro ne to be ing damaged tha n a long er nail.

T h e h a r d sur lacc o f na i ls p r o d u c t s h i g h e r partiafs o f the s t r in g w i th a resulta nt th in ne r mo re metal l ictimbre, wh er ea i the f lesh o f d i e f i ng c i i i p pro duc es mo re fun da me nt al w i th a mo re su bdued mut ed t imb re .

T h u s a c o m b i n a t i o n o f na i l s aw* f inger t ips w i l l pro du ce a mo re l> alaiue d (one an d result i lk greater c i m i m !

over the var ie t y o f t imb re changes.

T H K R I G H T H A N D P O S I T I O N

P t a d u g t l i e t h u m b an d the three p lay ing f ingers on a s ing le s t r ing as shown i n the fo l l ow in g pho to gra ph

(Fi gur e 1) is usua lly th e mo st ef fect ive way o f dem ons t ra t in g the r i gh t hand pos i t i on .

P lac ing the ha nd in this pos i t i on iH fr equ ent Interval s an d on var ious str ings du r in g the in i t ia l stages o f

dev e lo p in g right ha nd tec hni que can consider ably hasten the le ar ni ng process. Th e f o r m o f the ha nd sho i dd

remain the same wh et he r the fingers are all o n an yo n e o f th e six strings o r di st ri bu te d over any four of the

six strings.

xiii



T he f ingers are pe rpend ic u l ar t o the s t r i ng and at a right angl e lo Lhe back of th e ha nd . Th e knu ckl es,

i.e., Lhe metacarpal /ihfittiugeal jo ints, are then directly over the s t r ing on which the f ingeis and thumb are

rest ing.

T he l ip j o in " o f the t hu mb sho uld be ext ende d in a na tura l pos iti on and shou ld always be somewhat ahead

of the index f inger. The i h u m h may not always be in a straight line since the backward bend of the lip jo int

may vary for some ind ivi dual s fro nt bein g relatively straight to havi ng a con side rable angle.

T he t h u m b is extremely i mp o r t a n t to r i g h t ha nd tec hniqu e and . bei ng the opp osi ng memb er o f the hand ,

inqu i res specia l attent ion . Th e t hu mb sho uld move h u m the wrist {carfxHttrt'ictirjNd) in co nuu ry mo t i on to

(he ot her linger s wi t ho ut any Hex ing of the tip jo int .

Finally, it is pe rt in en t to realize that the. r i g h t ha nd te chn iqu e here re co mm en de d is no t necessarily a

" n a tu ra l " one since the f ingers of the hu ma n ha nd are pr imi ti vel y and" inst inctively pron e to gra spi ng raUicr

than s tr ik ing. Therefo re, mu ch time and patience must be exp end ed to deve lop die necessary ne ur al p a th ways

before the technique and form become a norm al and na n i r a l response.

R I G H T H A N D T E G H N I Q U E

R i g h t ha nd Technique is generall y characterised and di vi ded int o two Ijiisic strokes in wh i ch die actio n o f

the f ingers or d i um b, af ter so und in g a s t r ing , is topped by an adjacent s i r ing ; o r th e fingers an d t h u m b . aRer

s o u n d i n g a s t r ing , fijjpossihe adjacent str ing.

T h e action o r the f ing er s, no t m e n d i n g the t h u m b , is som ewh at ana log ous to die swing of a fle xib le

p e n d u l u m tha i is adjusted to sirike one s t r ing but is in t er rup ted by an adjo i n ing s t r ing , or Is aga in ad ju st edto strike a s t r i ng w i th a fol lo w-d uo ugh . by-passing the adjoining str ing.

T ims, except for th e rasgue ado, Uiere is essentially on ly on e str oke o f the fingers, whi ch fo r te chn ic al

purposes isdi v ide d in to two parts, each part de pe nd en to n the d i rec t ion , of the stroke an d o n whed ie r pl aying

a single s t r ing o r two or mo re strings simultaneousl y.

Hi e terms most co mm on ly employ ed to describe lhe "slopped™ act io n o f the f ingers or d u i r n b are:

ham inpr.it11M frpoytindo, rest-stroke, and supported stroke. This touch by its nature is restricted to single str ing,

scale-like, melodic, or bass passages and should always be executed w i t h two or ihre e al te rn at in g f ingers or

the thumb alone.

The terms generally used to ident i ty the "unstopped" action o f di e fingers or t h u m b are : esatpement stroke,

Irmmfa. free slrok^. and imsupfwrted strotte,

T H E R I G H T H A N D T H U M B

T h e overal l t e chn ique or the right h t i i d is largely depe nde nt o n die eff icie nt use o f the i h u m b . I k i n g the

heaviest an d su on ge sl an d i n many ways the most agile me mb er of th e ha nd , the t h u mb has its ow n special

technique.

T h e no r ma l angle of the t h u m b from die back o f the h a n d t o ihe s t r i ng is about 45 degrees (Fi gur e 2a).

However, this angle can be altered Lo produce certain changes of ti mbr e. Th e mu re parall el the th u mb is to

lhe s t r ing the mor e surface and f lesh contact the sm ug , res ult ing in a to ne closely rese mbl in g that of a bowed

iusu u m e i i i (F igure 'lb) . O r the th um b can be br ou gh t to a nearly vertical pos it ion to create very pow erf ul

tones especially on the bass strings (Figure 2c}.

Fig ure 2a Fi gu re 2b Fig ure 2c

T h e most effective st roke for the th um b is simi lar to die ham me rs tr ok e or "sl opp ed a ct io n" o f the f ingers.

The t h u m b s hould always be used i n this manner when playing bass passages or when an adjacent s i r ing is

ftee,

xrv

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T h e escapement stroke is necessary w h e n t h e t h u m b m i g h t i n t e r f e r e w i t h a susta ine d ton e on an adjo in in g

s t r ing o r in p lay ing the inner voices o f an acc omp ani men t . I n the p lay i ng o f b lo cke d o r rap id ly a rpegg ia ted

chords invo l v in g ad jacent s t r ings , the th u m b sho uld "snap u p " aga inst the in de x finger w i th ou t any mov em ent

i n the hand i tsel f .

T h e t h u m b s h o u l d alwa ys be k e p t e i t h e r r e s t i ng o n a s t r i n g i n p l a y i n g pos i t i ons o r v er y close to the strings

an d sh ou ld no t be f l a i l i ng abo ut in mid-a i r whe re i t can give n o su pp or t fo r th e ot he r fingers or th e h a n d

itself . I f the t h u m b is a l lo wed to fo l lo w t he f ingers at a d istance o f one or two str ings, i n ef fect to " tag a long",

the f o rm o f the h an d is th en n o t d i s tur bed as i t i s m o v e d f r o m t h e f o r e a r m across the six strings.

A mo s t i mp o r ta n t t e chn i q ue f o r the t h u m b is t o p r e ven t bass no tes f r om so un d in g bey ond the i r ac tua l

t ime va lue . Two ob jec t i onab le fac to rs r esu l t f r om a l l ow ing bass no tes to " r u n on " :

a . Even wh en t he bass i s a c om m on ton e to the nex t cho rd , a b l ur re d ef fect i s gen erat ed for the new bass

note.

b . W he n the bass is not a. c om m o n to ne to the ne x t ch or d , an unaccep tab le d i ssonance occurs .

T h e t e c h n i q u e r e q u i r e d is i n effect a delayed s tacca to tou ch in wh ic h the t h u m b re t urn s to the prev ious

str ing immed ia te l y a f te r hav ing sounded the new bass no te .

S P E C I A L E F F E C T S

I n a dd i t i o n to no r m a l p l a y i ng , the r i g h t ha nd also c o n t r o l s degrees o f dynamics , t i mb re changes, t a m b o u r

effects, muted s t r i ngs , some forms o f staccato , art i f i c ia l ha r mo n i c s , va r i o us rasgueado effects, an d t r em o los .

Dyna mi cs (Degrees o f vo lume)

T h e qual i ty , varie ty, a n d v o l u m e o f t o n e is en t i r e l y d e p e n d e n t o n the m a n n e r i n w h i c h th e str ings are

sounded . Var ious degrees o f in tens i ty can be bro ug ht to bear i n s t r i k in g the str ings, f ro m a very re laxe d stroke

p r o duced by g endy cu rv ed fingers to an inc rea se d rig id it y a n d straig htnes s of th e f ingers. T h e degree o f

intensi ty w i l l increase or decrease the effects o f mass, m o m e n t u m , an d veloci ty, en ab l i ng th e r i gh t ha n d fingers

to pro du ce a cons iderab le range o f dynamic s f r om very sof t , r o u n d tones to the m a x i m u m vo l ume obta inab le

f r o m the i ns t r u men t .

T i m b r e ( t one color)

O ne o f the out st an di ng character ist ics o f th e c lassic gui t ar is the rem ark ab le effect o f t imbre va r ia t i ons .

I n a dd i t i o n to the t im br e contrasts o f the ha mm er ( apoyando) a n d escapement ( t i r an do ) strokes, ma ny subtleor stron gly con tra st ing ton e co lors are achie ved by so un di ng the str ings f r o m very near the br i dg e to we l l

over th e u p p e r e n d o f th e fingerboard.

T h e nea r e r t h e s tr ings are s t ru ck t o w a r d t he m i d p o i n t o f t h e i r l e n g t h ( 12 t h f r e t ) th e m o r e o f th e

fundamenta l s a re sounded . As the hand i s m o v e d toward the br idge , more and more o f the s t r ings ' h i gher

part ia ls are a ctiv ated .

Cer t a in te rms are enco un te red i n va r i ous ed i t i on s o f gu i ta r mus ic to ind i c a te the effect o f the br idge

t i mbr e . T h e r e are, however, no te rms to ind i ca te o ther areas o f the str ings. However , a very s imple symb ol

can be used to mark over c e r t a i n passages, as a r eminder o f the t imbre effect des i r ed . Th e symbo l

represents th e so un d ho l e an d the str ings to wa rd the br i dge . I t may be ma rk ed in the fo l l ow in g ways:

indicates a strongly fu nd am en ta l t one

indicates the normal p laying area

indicates a more b r i l l i a n t t i mbr e

indicates the br id ge t i mb re , sometime s i ndi cat ed as metallico, ironica, chevalet, sulponticelh, etc.

T i m b r e changes sho u l d a t f i rst be pract i ce d us in g s impl e chr oma t i c exercises because the left hand can

be stron gly a f fected by th e mov em en ts o f the r i gh t ha nd . Th is is due t o an inst i nct i ve rea ct ion ca l led a " m ir ro rre f l ex " i n wh ic h one ha n d tends to imi t a te the o th er as th ou gh re f l ec ted in a mi r r o r .

xv



T a m b o u r (percussion effects)

A mo n g the mo re spectacular effects obta inab le o n the gui t ar are the var iety o f percussion effects p r o d u c e d

by st r ik ing the str ings or d i f ferent areas o f the face o f the i ns t r ument w i t h the th um b o r f ingers .

These effects are genera l ly i ndi cat ed by sho rt va lue not e stems w i t h an abbrev ia t i on o f tambour over the

no te . However, a more de f in i t i ve no ta t i on to ind i ca te tambour effects can be used to mark specif ic areas o f

the gui t ar to pro du ce disce rnable p i tches.

T h e f o l l o w i n g d i a g r a m ( f igure 3 ) i l lus trates the specifi c s t r ik ing areas for the t h u m b an d f ingers. T h e

areas vary i n p i tc h registers an d can be i ndi cat ed by the specia l sta f f no ta t i on sho wn be low the i l lustrat ion.

Figure 3

Tarn. Tarn. Tam. Tam.

^ P 7 P 7 P 7

8 (1) (2 ) (3) (4)

T h e ac t o f s t r ik ing the str ings at var ious distances f ro m nea r the br i dge (area 5) to over the upp e r po r t i o n

o f the fingerboard (area 6 ) is desc r ibed by the te rm batterie o r golpe, i .e. , beating.

T h e ba t ter i e ef fect i s ind i ca te d w i t h no r m a l no ta t i o n o f a ch o r d ( E x a m p l e l a ) . C ho r ds ca n also be sou nd ed

with a bel l- l ike ef fect by s t r ik ing th e str ing s sh arp ly agai nst th e fingerboard exac tly twelve fr e ts f r om the ch or d

fingered by th e lef t h an d . Th is ef fect can be no ta te d by d i am on d shaped no tes ind i c a t i ng har mon ics w ith

the tambour abbrev ia t i on (Tam. ) p l us the a r t i f i c i a l ha r mo n i c i nd i c a t i o n ( E x a mp l e l b ) .

IV

Ta

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I t is im po rt an t to d i f fe renti ate the percussive tap ping s o f f la me nco gui tar p la yin g f r o m that o f the c lassic

gui tar. F lamenc o gu i ta rs a re equ ipp ed w i t h p last ic guard plates to protect the sound board o f the gui tar s ince

the percussive effects are d on e w i t h th e finger t ip a n d na i l . Percussion effects on the classic guitar must always

be done w i t h the f la t f leshy po rt io n o f the finger t i p or t h u m b as sho wn in the fo l low in g ph ot og ra ph (Figure

4 ) . They m u s t never be d on e w i t h the nails.

w i



t ignre 4

A n o w l e f f e c t o f m a re d r u ms can also be nseful i n acc ompa nime nts an d even i n a solo or ens embl e piece.

T h e eff ec t is made by cross ing t he s i x ; h s u i ng rwerthe f i f t h su in g, pre fer ably : n lhe seventh fret. T h e stringsare th e n so un de d by lhe back or the nails as i n pl ayi ng a rasgu eado. Th is effect can he noi at ed as in the

f o l l owing exam ple [Exam ple 2 ) .

Sn, D. Sn. D.

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Example 2

M U T E D 5 T R I NC 1 S

T h e d i r ec t i on for m u l i n g lh e strings is ind ic ate d by such te rms as .\anlatm>nie(h.) mu f f l ed . damp ed , m ule d ;

ft<>u to sm ot he r or dead en the tone ; and pizzicato (It,) abbr. pi//., l i teral ly p in t fu d or plucked instead

o f bowe d. I n gui tar music these terms are syno nymou s. Al th ou gh the l i t era l def init ion of p izz icato does not

i m p l y m u t i n g , it is a mor e Convenient abbrev iati on and is gener ally t he pref er red te rm for diis reason.

T h e strings are m u t e d by p lac ing the ou te r sid e o f d i e r i gh t hand f i r m l y on the saddle ol th e bri dge . T he

strings are then sounded w i th the t h u m b , w h i ch must remain fini/illd lo the s t r i n g l i e in g p laved. hi mo vi ng

f r om s t r ing to s t r i n g the ha nd mus t, hc re fo rc . slide al on g the saddle lo ac co mmo dat e (he parallel posit ion

o f the t h u m b . Th e h and can bes omc wha i arch ed since onl y that por t ion Of the hand tha t is i n line w i th the

t h u m b n e ed s t o contact the s i r i n g . Occasi onall y Othe r fingers are used w i t h the t h u m b ; I n iwever, sin gle s i r ing

passages* wh et he r bass or tre ble , are Always played w i t h the t h u m b .

The Ha lf -P iz zi ca to (abbr . \/'2 piz£)

A, l unusua l effect is achieve d if. after so un di ng a mut ed st r ing . * ! ho r i g h t h an d is inu ned iat elv released fr om

•he saddle. The res ul ti ng mu t ed tone is thus sustained w i th a slight increase i n vo lu me si mul at in g a Ix mc d

s t r ing lone.

Right Band Staccato

JK. clear, clean staccato is perhap s one of th e mor e d i f f i cu l t l ec hn in ue s to master on the guita r. Th e staccato

t o u c h Involves t w o d i s i i n r i ac Uonso f the fingers, viz., on e to stal l the tone and ano th er lo slop the tone-

In a series o f siaccal o tone s o n a single s i r ing , each a l ic nu ui ug l inger must moment ar i l y s top on d ie suingIn-fore complet ing i ts t t m k c . As a rale, single s t r ing stitccatcis are general ly mo re c uV ci he i f escapement

strokes i i r c used.

xvii



H i t - th um b, o f course , must do i ts own s topp ing ; however, i f th e i h um b r ema i ns close en ou gh no the

StringH ih i scan be very ef fective, especial ly on the bass str ing s,

Staccato b locked o ra r pc gg ia i ed doub le s l ops an d three o r l ou r s i r in g chords Invo l ve lhe same p r o cedur e

o r dr op p i ng d i e l ingers an d I h u m b d i r eel l y back l o th e si r i ngs j u si sounded. Choir ls invo lv ing l ive or a l l s ix

si r ings a re Mopp ed bv dr op p i ng the open pa lm o f d i e ha m ! across lh e str in gs.

T h e l e f t h a n d can also a id considerably in the overa l l effectiveness of "the staccato w he n the I wo ha n dsa l e

su f[ i ci end y co on I i i i a i e d .

A R T I F I C I A L H A R M O N I C S

U n l i k e ualum! harmonics, wh ic h can be pro du ce d on ly a l cer ta i n Specif ic f rets, artificial or octa l* hanaorua

Can be prod uc ed at anv f ret by the index u id an nu la r l in ger s o f d ie r igh t han d.

T h e i ndex f i nge r t ouches lhe s i r in g ver y l i gh t l y w i t h o u t depress ing i t e xact ly twelve frets distance directly

fliw die f ret f ro m e i the r an ope n su in g or a s lo ppe d st r in g. Th e a nn ul ar str ikes the s i r in g at lh e same insLam

an i l lhe hand i s imme dia t e ] v w i t hdr awn lo avo id in t er f e r i ng w i th th e r esu l t ing ha rm on ic . T h e tona l s t r ength

o f the ha rm on ic is usual ly greate r i f the ann ula r is pos i t i one d as 6 u be h in d the ind ex as possib le (F i gur e 5 ) .

Figure 5

Art i f i c ia l h arm oni es are gene ra l ly ind ica ted in on e o f two ways, e i t he r by an abbrev iat ion o f harmonic and

rWmtfover the no ta t io n (Hnr, Sva) ; or by in di ca t i ng the f ret Where the index Anger touches the su in g (Ha i .

15),

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Example 3a.

Art i f i c ia l harmonics can also b e e j e c t e d o n two o r mo re ad jacent s i r ings o r in cer ta in co nf i g ura t i ons o f

< ho rd s, Th e right ha nd is dr aw n quic kly across the s t r ings w i i h the ind ex a r id an nu lar he ld i n ihes ame pos i t i on

as for a s ingle str ing harm on ic , h ut in e f e c t t r a c i n g a n o u t l i n e o f the cho r d w i t h the in dex l inger .

Occasional ly passages are wr i t te n w ith no r ma l t o nes a cco m pa ny i n g l he ha r mo n i c s . I n some instances the

annul ar mus l s t rike no t on l y d i e ha rmo nic bu t also cont in ue to sou tu I the normal lone on the str ing adjacent

t o i l . Mean t ime , the th um b may he invol ved w i t h o t he r suings.

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Ex am pl e 3 b

T H E R A S G U E A D O

J^fisgitrwh, also rrjjigffffa. abb r. rasg., .ite ral lv rasping. In gu i in r pl ay in g the l e r m refers l o ce rt ai n specifi c

percuss ive t echn iques and rhv thmic effects used in sou nd i ng chords , Th e effects are especially chara cteris t ic

a n d p ro in i iH -u i in f lam enco mus ic .

AJ th ou gh rasgucado tec hni que s are universal l y associated w i t h t h e I lam e nco guitar , composers o f mo re

recent co nt em po ra ry musi c have d raw n up on some o f these co lor ful and very gui far is t ie effects n> ad d ye t

an oth er d i me ns io n to the class ic guitar . Th us , the wide d ispari ty that on c e existed between the two styles of

p lay ing i s cons iderab ly an d grate fu l l y d im in i she d .

I h iwcver, not al l f la me nco techni ques are feasib le o r re co mm en de d fo r c lass ic p lay in g; ther e for e , only

those effects that mi gh t be en co un ter ed or considere d pract i cal or useful are here d iscussed,

Rns gnc ado sar cc l lec ied by the inc ex f inger alone or by three f ingers (a. m h i ) of the right hand" sweeping

across the str ings to pr od uc e a character is t ical ly s tr i dent lone in the p l ay in go f chords , F lam enco p layers

also use the f i f th or Mule l i ng er (me fuq uc) as wel l as the three f ingers de pe nd in g on the effect des ired.

T h e d o w n w a r d s troke is p r od u c e d by t h e back o f t h e nai ls w h i l e t h e i nd e x o r a l l three ( o r f o u r ) l inger s

b e g i n n i n g w i th t h e ann u la r ( o r me i i qu e ) a r e m ad e lo fan out across th e strings. Th us , on e f ing er is

imme d iat e ly fo l l owed by an od i e r u n t i l the stroke is co mp le te d by all lhe finger s (F igu re t ic) . Th e h a n d as a

who le shou ld not move and should be supported 1 l>v re si in g (he t h u m b firmlvon th e edge of" the fi ng er bo ar d

or on the s ixth s t r i n g -

I n consecut ive series o f cho rds, the index f ing er al one is mari e to sweep back and f o r th across di e string s

inv o lv ed Th i s t ech n iqu e i s usua l ly ind icated by arrows ma rk ed before the cho rd s to show the d ir ec t io n o f

the strokes (F i gur e 6a ) ,

A t r e mo lo effect is ach iev ed whe n the finger s sweep back and f o r t h across the str ings in a co nt i nu ou s

series o f over lap pin g rasgucado strokes. Th us , the an nu la r starts in lhe opposit e d i rec t i on before the middle

a n d ind ex com ple te the or ig in al s troke. F igures f ib and be i l lustrate the forw ar d and backwa rd stroke of the

fing ers. Th is ac ti on co nt in ue s For the ti me valu e required.

Fig ure 6a Figure t ib Figure 6c

T h e f o l l o w i ng examples (Examp.es 4 an d o) i l lustra te the not at io n for in d i ca t i ng the rasgucado. I t isi m p o r t a n t to inte rp re t wha t actual ly occurs in the thr ee or fou r f inger lasgueado becaiLsc the iudtx wilt nfawyi

ilffertahtf the atrritt. I n classic g ui ta r mus ic, the rasgucado is occ asi ona lly ind ica te* I as a i r i p l e t o r q uad rup l e t ;

however, th is not at i on i s rhy th mica l l y inaccurate . Th e an nu lar and m id d l e f ingers ant i c ipate , as grace notes

w o u l d , the accent cre ated by th e ind ex finger, as sh ow n in ex am pl e 5.

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I n flamenco pl ay in g th e t h u m b is also use d i n so mew ha t th e same way as th e i nd e x i n bac k a nd f o r th

sweeps across the strings. Thi s tech niq ue is mo re a rh yt hm ic device a nd is no t exact i n its no ta ti on . Henc e, it

w o u l d n ot lik ely oc cur i n mus ic for classic guit ar.

N A I L E F F E C T S

A n unusua l t im br e effect can be create d by sli din g the back of the th u m b n a i l across the strings, be gi nn in g

wi th the treble str ings an d movi ng up wa rd tow ard the s i x th s t r ing . Sim ilar ly sl id ing the back of the in dex nai l

i n a do wnw ard di re ct io n near t he bri dg e fr om bass to treble creates a ti mb re closely re sem bl in g a ha rp o r

harp s i c ho rd . Also, using the back of the index n a i l as i f ho ld in g a guitar pic k and s t r i k i n g i nd i v i dua l strings

creates an extremely percussive metallic effect, especially when done near the bridge.

T H E T R E M O L O

T h e t r emol o is de f ined as a r a p id f l u t t e r i n g re it erat ion of a tone or cho rd , pr od uc in g a tre mul ous ef fect

wi tho u t apparent breaks in the c o n t i n u i t y of the sound.

T he ras gue ad o t r emo l o di scussed previously con f o rms m or e nearly to the de f i n i t i on o f a t rue t r emo l o

that is obtai nable o n th e guitar. Wh at is usually ref err ed to as a tr em ol o i n gui tar tech niqu es is mo re accurately

described as a series o f r ap id l y repea ted t ones by the r i g h t h an d f ingers o n a single str ing. Th er e are, however,

very apparent breaks in the sound even wh en ar tic ula ted very ra pi dly and smoothl y. Thi s type of tr em ol o is,

nevertheless, a very attracti ve an d typically guitari stic effect, the t ech ni que o f whi ch wh en prac tic ed is

benef icia l to the ove ral l flexibility an d in de pe nd en ce o f th e r i g h t h a n d fingers.

Init ial ly, pract ici ng arpeggios whose sequence o f al te rna ti ons are the same as those used in the tr em ol o

is hel pful as pre par ato ry exercises. T he mos t co m mo n a lt ern ati on i n classic guit ar tr em ol o is (p, a, m. i) ;

however, ot her alter nati ons can be useful since repe ated notes can occ ur i n man y co mbi nat io ns t h a t are not

necessarily tremolos.

5 6

p a m i P m i m P i m i P i m a P i a m i P i m a m i

Example 6

The above alt ern ati on sh ou ld be prac tic ed slowly an d evenly w i t h al l the fingers a r t i cu l a t i ng on a single

string. It also applies to the foll ow in g exampl es of arpeggi o patt erns .

Example 7

x x



A very effective exerci.se for developi ng co nt ro l an d evenness of d ie al ter nat ion s is l o use die t hu mb in

p lawng a chromat i c scale s t a r l ing w ith the sixdi s t r i n g and con t inu ing f r om s t r i n g to s t r i n g ascending and

des cen ding as show n in ex amp le S. T h e t h u m b mid the three fingers nse hammerstrokes on the first f igure.

•The i h n m b th en jo ins the f ingers on die f i rst string w i t h escape ment strokes. Th is fo rm ul a can be app lie d to

the second and t h i r d strings in the sarac manner.

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a mi one , two, or thre e fingers as show n in ex amp le 9*

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T H E D O U B L E H A M M E R S I ' RO K E

F r o m [he fore goin g sect ions i t becomes quite obvious that classic as wel l as fl ame nc o g ui ta r techni ques

p r i m a r i l y and predom ina nt l y conce rn the r i g h t h a n d . C o n c l u d i n g th is por t i on of the me th od is the Doubk

fIn irimin.itm ice fa poy and o. rest stroke , etc) (Fig ure 7), a final tec hni que [hat may wel l be the most im por ta nt

i n relat ion lo the right han d posi t ion and the cu lmi na t i on o f r i g h t hand techniques.

E igure 7

T h i s techn ique inv olves lhe i h u m b a n d an y one o f the three f ingers, al l ho u g h most o f ten used wil l be the

annular . Th e t h u m b and the ann ul ar st l ike simult aneou sly on th ei r respect ive str ings, bo th f ingers b ein g

sloppe d by the adj oi nin g suings, the i h u m b so un di ng a bass s t r i n g a nd the annu la r a treb le s t r ing . This

te chn iq ue is very easily maste red if die fin gers are straight and pe rp en di cu la r to the sirin gs. It is v i r tual ly

impossible, however, if die fingers are curved as in a clutched b u n d pos i t ion .

T h e douh le -hamine rs t roke cr ea tes a very s t rong and c learlv d e f ined vo ice separation between the bass

and u eble voices and allows for yet anodier vo ice separat ion for d ie inner voices p layed w i d i escapements:

xxi

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Examples H) and I I i l lustrat e s imple appl i cat io ns o l [he dou ble -ha mme rst rok e lo the mel ody a nd Lhe

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T H E L E F T H A N I 1

T h e le ft h a n d p i eparcs wh at the right l ui nd cx ec tu cs , wh et he r it is a singl e scale-l ike l ine or aseries o f con ip l c\

chords , T l i e l e f t hand cont ro ls degrees o f legato p lac ing f rom long sus ta ined l ones to various types of slurs.

11 a l i o cont r o ls the v ib rato , some forms of staccato, scale p lay ing , an d f ing erbo ard har mon y .

I f the posture i n ho ld in g lhe guit ar as prev iously descr i lx ' d , v iz. the c h i n , to p up pe r bou t , an d the le f t

knee and foo t f o rm in g a straigh t l ine , the p la ceme nt of the le f t ha nd sho ul d o i le r lew pro blem s.

M a i n t a i n i n g th is pos i t ion, lhe le f t arm should be in a na tura l , r e laxed a l t i t ude an d wil l n ot necessitate

d i p p i n g lhe shoulder or reaching unnecessari ly lor lhe first f r e t

T h e r e c o m m e n d e d h a n d pos it ion is i l l u s i r a t c d in Figure 8, in which the lour fingers arc placed on the

first s u i n g i n a c h i o mat i c sequence, each l in ger occ upy in g i ts ow n fr et

Figure H

XXJl



T h e fingers are seat ed squar ely o n the i r t ips, the index especially describing a high arc and facing in a

do wn wa rd di re ct io n slanted tow ard the bod y of the guitar. Thi s creates a very stron g, secure, yet comf orta ble

feel o f the fi ng er boa rd since ther e is no di st or ti on or twis ting of the wrist thus re du ci ng fatigue an d av oidi ng

the possibility of devel opi ng t endo nit is.

Wh en the f ingers m ov e f rom the f i rs t st r ing towa rd the s i x th s tri ng or i n ma ki ng a barr e, the flat plane of

the pa l m w i l l vary f ro m about 45 degrees to nearly parall el to the fing erb oar d. Th e wrist can, in mos t instances,

r e m a i n straight; the ha nd an d wrist merel y t u r n as a u n i t from the forearm.

T h e t h u m b acts as a counter-balance to the f ingers and , hence, w i l l be cons tantly shi fti ng on t he back of

the guitar neck. Th e bal l o f the th um b presses gen dy against the nec k wi th ou t un do gr ip pi ng or squeezing.

I n fact, when applying the vibrato, single strings and barred chords are often played w i t h the thumb entirelyfree of the guitar neck.

N O R M A L F I N G E R I N G P R I N C I P L E

T h e p lac ement o f t he f ingers i n chromat i c sequence establishes a st and ard fo r the Principle ofNormalFingering;

thus, in the first po si ti on , fre t a nd finger n um be rs co rr es po nd . N o r m a l fingering is th e n observe d i n any

p os i t i on o n the fingerboard a n d establishes a st an da rd fo r id ea l fingering a n d a means for eval uat in g th e

effic acy of fingerings i n ed it io ns o f g u i t a r music . App l ica t ion o f the nor ma l f inge r ing ru le can serve as a guide

for detect ing an d el imi nat in g errors in f in ger i ng and for establ ishing sensible, ef f icient, and econo mical

fingerings f or th e le ft h a n d .

N o r m a l fingering w i l l serve mo st co nd i ti on s o n th e fingerboard, however, whe n depar tures f r om no rma l

fingering ar e necessary, extensions an d contractions o f the fingers s up pl em en t the ru le . Fi nge r ext ens ion oc curs

w h e n a finger oc cup ie s a fr et higher'm p i t ch than i ts no rm al f r et w i t h o u t a shift of the ha nd . Finge r co ntr act ion

occ urs w h e n a finger o ccupi es a fr et lower'm p i t c h than the no rm al fret , again wi th ou t shi f t ing the hand . Man y

c h o r d fo rm at io ns invo lve exten sio ns an d con tra ct io ns as we ll as n o r m a l fingering, wh ic h, of course, are

self-evident necessities. Fingerings t h a t are designed to enha nce the in te rp re ta ti on of a musi cal phrase,

however, may dep art consi derabl y f r o m no rm a l fingering i n ord er to serve musical rather t h an technical

considerations.

S H I F T I N G A N D C H A N G E O F P O S I T I O N

I n sh if ti ng the left h a n d wh il e asc end ing or des ce ndi ng th e fingerboard, use th e first finger as a guide finger

to det ermi ne the posit ion numb er. Th e h an d moves in a smoothly f lowing motion from one posit ion toanother by g l id ing the first finger, whene ver possible, alo ng the str ing wi th ou t pressure yet wi th ou t releasing

i t . T h e o t he r fingers are use d i n th e same manner ; however, the posi tio n is always de te rm in ed by where the

first finger w o u l d n o r m a l l y fall.

U t i l i z i n g a n ope n s tri ng as a ton al bri dge or l i n k , when possible, w i l l allow the hand to move freely,

especially i n the l on g skips o f wid el y separa ted posi tio ns.

T H E P R I N C I P A L P O S I T I O N S

l h e N or ma l Fi ng er in g Pri nci ple is the de te rm in i ng facto r i n the logica l divi sion o f the fingerboard in to

Three Pr inc ipa l Po sit ions , vi z. , the First, Fifth, a nd Ninth Positions.

T h e three posit ions ar e d e t e r m i n e d by the ph ysical d iv is ion o f the chromat i c octave f r o m the op en strings

to th e tw el ft h fre t by th e f ou r fingers o f the left h a nd pl ac ed i n an or de rl y sequence o f n o r m a l fingering. Th e

first finger w i l l always de te r mi n e pos it io ns o n th e fingerboard.

Th i s d iv ision gready simp li f ies c ompr ehens i o n o f the ent i re f i ngerboard si nc e, i n e x a mi n i n g the do t t ed

lines o n the fo ll owi ng chr oma ti c ch art of the six strings (Ex ampl e 12), certai n logi cal consistencies can be

observed betwee n the strings an d the pr in ci pa l positi ons.

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Example 12

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Half-step exceptions to the u n i f o r m i t y o f the f ing erboa rd w i l l always occur between the second and th i rd

strings. Otherwi se, betwee n o th er pairs of adjacent strings, the ope n s t r ing and the f i f th fret note of the next

lower s t r ing w i l l be the same, as w i l l be the f o u r t h fret and the n i n t h fret notes.

T H E L E G A T O T O U C H

o ne of the most i m p o r t a n t aspects o f l e f t h an d tech niqu e is achieving the hig h deg ree o f economy o f m o t i o n

that is the pr im e requisi te i n dev elo pin g a legato t ou ch .

Legato is de fi ne d as bound o r tied, ind ica t ing t h a t musi c so ma r k e d is to be pla yed sm oo th ly an d closely

connected, each tone being held u n t i l the next is sounded. Lega to playing is fundamental to all musical

performance and, unless otherwise indicated for special effects such as the staccato, is the basic technique

that underl ies any f o rm o f artistic expression.

Th is evaluat ion is pa r t i cu la r l y p ert ine nt to guitar tec hniq ue since the r i g h t h an d can no t aid i n sustain ing

tones. Once the s t r ing is sounded by the r i g h t h an d , i t is ent ir el y u p to the left ha n d fing ers t o sustain or

overlap tones, as in playing slurs.

Ce r t a in factors can aid consi derabl y i n dev el op ing legato play ing, as i n pl an ni ng bo t h left an d r i g h t hand

fingerings f or ent i re passages an d phrases. Thi s pr oc ed ur e can assist i n de te rm in i ng consistent an d eco nom -

ical fingerings that shoul d be adhere d to once dec ide d up o n. Su pp le me nt in g no r ma l fingerings wi th

extensions and cont ract ion s to avoi d "h o pp i ng " the same finger f r o m on e s t r ing t o anoth er is an im po rt an t

a id in legato playing.

Perhaps the single most i m p o r t a n t factor i n legato tech nique s is PivotalFingering. Pi vo ta l fingering involv esr e ta i n i ng the fingers o n the strings as m u c h as possible a nd carefull y obs er vi ng wher e a passage, phrase, or

c h o r d revolves aro un d a re cu rr in g or suspended tone, s t r ing , o r fingering.

xxiv



A n effective exercise for deve lop in g legato pla yin g is the practi ce o f a s imp le chromat ic sequence on each

s t r ing in the f i rst po si tio n. Thi s sho ul d be pra cti ce d slowly, an d mo re slowly, u n t i l b o t h r i g h t and left hand

fingers are per fect ly synchron ized. Most beg in ni ng and novice per f orm ers invar iably att emp t to play i n mu c h

faster tempos t h an the ir tec hniq ue al lows, a tendenc y that can gready retard technical progress.

L E G A T O S I G N S

T h e most c o m m o n i nd i ca t i o n o f lega to p lay ing is the slur, wh ic h is a cur ved l ine conn ect ing two or mor e

notes of d i f ferent p i t c h . When ex t ended over several measures, the curved line is used to indicate a musical

phrase. The phrase m a rk is un fo rt un at el y no t gener ally us ed i n mos t music for classic guit ar; its use shoul d

be enc ou ra ge d, as th e phras e ma rk is a val uabl e visual ai d to i n t e r p r e ta t i o n .

Ce r t a in s lur signs are ind ic ati ons for t he r i g h t ha n d used to ou tl in e arpe ggiat ed c hord s, to indic ate a

t h u m b glide, or to indicate the vertical slur. Mos t slurs invo lve th e lef t h a n d an d are, in effect, on e o r a series

of tones produced solely by the percussive action of the finger tips. T h e f i rst tone of the various left hand

slurs is usually i n i t i a t e d by the r i g h t hand .

On ce mast ered, slurs can create very de fi nit e musical effects a nd sho ul d no t be used indi scr imi nat el y as

a technic al convenience. Slurs d eve l op subtle rhy th mic ef fects, w hi ch can disto rt the rhy thm ic patt ern of a

figu re or an ent ire phrase if used incor rect ly. Th e c onst ant practi ce of slurs, furthermore, is a valuable

calisthenic exercise fo r dev elo pin g a st ron g an d overa ll ap pro ac h to left h an d te chn iqu e.

T H E V I B R A T O

o ne of the most music ally pleas ing effects o f left han d tec hniq ues is the appl ic at ion of a vibr ato to ad d

expr ess ion to sustai ned tones o f a mel ody , to double -sto ps, and to cho rds .

T h e v ibrato is de f i ned as a v ibrated, t r emul ous , a n d resonant qual i ty o f t one as opposed to a pure , even

tone . Th e effect o f the vi bra to prod uce s very subtle, wave-like alter ations in the p i tch.

O n t he gui tar the vib rat o is pr od uc ed by a mo re or less rap id oscilla tion o f a fin ger wh il e it is f i rm l y seated

o n a s t r ing . The mov em en t is i n i t i a t e d by the forearm w i t h the ha nd relatively free o f the guita r nec k except

where the fingers touch the strings.

T he v ibrato can be i n t r o d u c ed r easonably early i n a student 's p ract ice r o u t i ne by app ly i ng t he technique

to r an do m tones prefer ably o n the bass strings an d i n the mi d area of the fing erb oar d. The secon d fin ger is

usually the best fi nge r to beg in t he practi ce since the ha nd is mo re evenly bala nced .

A n ef fect ive vibrato adds wa rm th an d col or to a tone wit ho ut be co mi ng too obvious; therefore , the

osc i l l a t i on sh ou ld be nei th er too rap id no r to o slow.

T H E G L I S S A N D O

T h e effect o f the glissando slide o r glide is to co nne ct i n a sm oo th , u n i n t e r r u p t e d manner two ascending or

des ce ndi ng successive tone s, double -sto ps, or ch or ds that may involve a small or large interval.

T h e gl issan do is ind i cat ed by a stra ight l ine d r a wn between the f i rst and last tones, sometimes w i t h an

abbreviation of glissando (gliss.) over the line.

T h e t e chn ique is the same as i n sh i f t ing posit ions except t h a t the gliding finger slides along the string

urithout releasing the pressure. In a single s t r ing gliss ando the same finger may co mpl et e the t rans i t i on f rom

one ton e to the ne xt , or it may stop j u s t short of the final tone w i t h anot her finger co mp le ti ng the effect w ith

a strong ly percussive slur.

One type of ascending glide that is par tic ula rly effective on the gui tar is the deceptive glissando, wherein

the in i t i a l tone and the slide are effected on one s t r ing and the final tone is sou nded on ano the r s tr ing. This

type of glissando is dece ptiv e i n its effect since th e slide an d th e final to ne are separa ted by a wi de in te rv al

ye t the impress ion is that o f a continuous tone.

T h e first ton e of a glissando is usually so un de d by the r i g h t hand , the final to ne may or may no t be

de pe nd in g on the desi red effect. A stronger, mo re clearly de fi ne d effect is obviou s if both the f i rst and the

final tones are so un ded by the r i g h t hand .

O R N A M E N T S

Qrnaments, o r Grace-notes, are a class of subor dina te notes played as emb ell is hme nts in a musi cal co mpo si ti on.

Or na me nt s i n gene ral are special not ati ons con side red t o be delicate ado rn me nt s to music an d do no t

inter fere or i n t e r r u p t the no rm al mov eme nt o f the melody or rh y th m.

xxv



To c omp i l e a l ist o f the ma ny types of orn am ent s that have been used from early music to the present

w o u l d be imp rac t ic al here . To t reat emb el l ish men ts exhaust ive ly con ce rn in g the ir des cr i pt io n, s tyl ist ic modes

o f execut ion , an d in te r pre t a t i on wo ul d requ i re a t l east a chap te r devoted to this subject alo ne.

Fortunate ly , the m o d e r n ten denc y is to ind ic ate in smal ler no ta t i on the precise ef fect des ired for most

orna ment s . Th e mos t co mm on ly used or na me nt s at the presen t t i me are the short , lo ng, an d d ou ble

appoggiaturas, the t r i l l , th e t u r n , and two types of mordents .

Embe l l i shme nts o n the guita r are , for the most par t , p layed as fa ir ly ra p i d s lurs w i t h the le f t hand f ingers .

Ther e are also instances whe re the r ig ht h a n d can aid i n the p lay i ng o f cer tai n o rna men ts .

L E F T H A N D S T A C C A T O

T h e lef t h a n d p roduc es st acc at o o n e i t he r single tones o r c ho rds s imp ly by r e l a x i ng the pressure o f t he

f ingers wi th ou t re leas ing the str ings. P l ec tr um gu ita r p layers are wel l aware o f the effectiveness of the left

h a n d f ingers as dampers wh en p lay i ng rhy thm ic , ch or d accomp an imen ts . Th is same tec hni que can be used

to so un d very sho rt staccato tones (staccatissimo) a n d lo n g det ac hed tones (detache) p r o d u c i n g a n effect

somew hat betwe en a staccato a n d susta ined t one .

W he n o pe n strin gs are invo lve d in a ch or d, th e staccato can be ef fected by a qu ick smother ing ac t ion o f

a finger, usually the f o u r t h f inger, across the str ings. Thi s is a useful an d valuable tec hni que no t only fo r

p roduc ing s taccato but also f o r deaden ing an un wa nt ed t reb le o r bass t one f r om sou nd i ng bey ond i t s

designated note value.

I V

P R A C T I C E R O U T I N E

T h e inev i tab le a n d cr i t i cal c ouns e l i n g that must be d o ne is i n adv is ing students on the am o un t of t i me to

devote to pract ice . Often at the outset o f a new and exc i t ing endeavor th e en thu si asm is so grea t bu t the

capacity to assimilate so small that pract i ce must be care ful ly regu late d.

Practice can be v i ewed as a t r a i n i n g p e r i od in mu c h t he same sp i r i t as an athle te mus t spe nd countles s

hours to pe r fec t h is sk il l s fo r com pet i t i on . I t is o f p r i ma ry conce rn that corr ect prac t ice at t i tudes an d habits

be establ ished f r o m the very begi nn in g. T h e r e are few thin gs mo re d i f f i cu l t t o correc t t h a n unp rod uc t i v e

habits that have been i n g r a i n e d t h r o u g h i m p r o p e r t ra in ing .

T h e pract i ce p e r i o d can be m a d e m o r e manageab le and st imu lat ing bo th physical ly an d psycholog ical ly

i f measured in ha l f -hour ra ther t h an the t rad i t io na l ho ur d iv i s ions. Re mai n in g seated in the same pos i t i on

for more t h an th i r t y min ut es is usual ly coun ter- prod uct i ve , especial ly f or the nov ice s tudent . I t is bet te r that

pract ice be in te rr up te d fo r a rest pe r i od of several min ute s by str etch ing an d mo vi ng ab ou t before r e s uming

pract ice . Var y in g study mat er i al f r o m one pe r i od to the ne xt also offers a re f resh ing change o f pace, mak ing

pract ice mo re r ewa rdi ng.

T h e f o l l o w in g ge nera l p rac t i ce r o u t i n e is d es igned to organize a l l the necessary e lemen ts o f techn ical an d

musica l deve lopm ent in t o an orde r ly p roced ure o f study .

Each ha l f -hour per iod covers a specific area of study w i t h the comp l e te ro ut in e to ta l ing fou r hours . Th is

schedule must , o f course , be mo di f i ed for the be gi nn in g stu den t an d to acc omm oda te those indi v idu als no t

yet hav ing su f f i c i ent m a t e r i a l f o r a l l areas l isted.

PR AC T I C E S C H E D U L E

(30 minute pract ice periods)

1. Scale practice, . . , (major, mi no r, chr oma t ic pat terns )

2. Repertoire review

3. Fingerboard harmony (p ri nc ip al ch or d, triads, sevenths, etc.)


5. Special studies. . . . . ( pos it i on etudes, tre mol os, etc.)


7. New projects. . . . (new rep ert oir e, studies, techn iques , etc.)

8. Repertoire revieiv

xxvi



T h e r o u t i n e may be c o m p l e t e d i n o n e day o r sp read over several days as necessary, w i t h each sectio n,

t a ken i n o rd e r f r o m t he p o in t o f i n t e r r u p t i o n , c o n t i n u i n g u n t i l t h e cycle is com ple te an d then start ing again.

I t is also r e c omm e nd e d t ha t a l l r e p e r t o i r e pieces be l is ted o n 3 x 5 fi le cards t ha t sh ou ld be rot at ed in

regu lar sequence as practice proceeds. Th is systemat ic ro t a t i on o f reper to i r e pieces al lows for a constant,

o n g o i n g review thus avo i d ing t he t endency o f p ra c t i c ing on l y cu rr en t " favor i tes " a t the expense of the total

reper to i re .

Mo r e advance d students ofte n b e c om e s o c onc e rne d w i t h a ccu mul at i ng a reper to i r e tha t they neglect

the scale an d f in ger boa rd ha rm on y p rac t i ce so essentia l t o t echn ic a l an d theore t i ca l deve lo pment . P rac t i c ing

pieces to the exc lus ion o f techni cal s tudy is analog ous to pa rt i c i pa t in g i n a spo rt i ng act iv i ty wi th ou t pro per

cal is thenic exercise an d tr ai ni ng . Th e actual per fo rm an ce is onl y the tip o f the iceber g wh i le ful ly 7/8ths in

preparat ion l i e s b e l ow the surface.

T h e p rac t i ce r o u t i n e is also he l p f ul du r in g a lesson p er io d i n tha t i t a l lows an ins tru cto r to focus on any

speci f ic area tha t may req uir e mor e c l ar i f ic at io n an d emphasis . O n occas ion the lesson per io d can be a k ind

o f " m i n i - r o u t i n e " a n d serve as a mea ns o f revi ewi ng all or some selected areas of study.

T h e r o u t i n e is es pecially h e l p f u l f o r those a d u l t s tudents w h o m u s t d iv i de t h e i r t i m e be tween o t h e r

ac ti v it i es . Fo l low ing the rou t i ne w i l l in sure against the desu ltor y pract ice habi ts i n wh ic h ad ult s tudents are

prone to indu lge .

M a i n t a i n i n g a set program of study, f u r t h e r m o r e , is effective in ove rco ming those inev i tab le pe r iods wh en

enthus iasm waxes a n d wanes l i k e phases o f the mo on . Enthu s iasm canno t rea li s t i ca l l y be expected t o remainconstant or at fever p i t c h . T h e r e a re t imes wh en ro ut i ne p rac t i ce becomes a cho re , wh en se l f -d irected

disc ip l i ne must be exerc ised. Bu t i t is en co ur ag in g to be assured that these occas ional doldrums are a pass ing

phase and are , in fact , an important aspect o f t h e l e a rn ing experience.

Fu rt he rm or e , an ord er l y use o f time, resu l t ing f r o m the d isc ip l in e req u i red fo r deve lop i ng skil l i n

mast er ing a musi cal in st ru me nt , may e f fect ive ly be ext end ed an d tra nsfe rred to ot he r act iv i t ies o f dai ly l i fe ,

a n d to achiev in g sk i lls i n ot he r endeavors an d d isc ip l ines . This i l lustrates one of the man y func t io na l values

i n s tudy ing musi c o f an overal l gene ral na tur e .

I t ha s b e en genera l l y observed that s tudents wh o have t r a i n i ng in mus ic an d p lay some mus i c a l i n s t rum e n t

cons is t ently a t ta i ned h ighe r scho last i c ach ievemen t tha n the i r non-mu s ica l peers. This again i l lustrates the

pract i ca l values of cou nse l in g and enco ur ag in g studen ts to s tudy musi c whatever the ir ul t im at e goals may be.

" B u t w h y m u l t i p l y these top ics , and the ir i l lustrat ions, wh ich are endless? Life brings to each his task, and

whatever a rt yo u select, a lgebra , p lan t in g , arch i t e c ture , poems, comm erce , po l i t i c s , — a l l are at tainable , even

t o the mir acu lous t r i u m p h s , on the same terms of se lect ing th at fo r wh ic h yo u are apt ; beg in at the beg in ni ng ,

proceed i n or der , step by step. 'Ti s as easy to twist i ro n anc hor s an d bra id cannon s as to bra id straw; to bo i l

gra nite as to bo il water, i f yo u take all th e steps in o rder . W he reve r ther e is fa i l ure , there is some giddiness,

some supers t i t i on about luck , some s t ep om i t t e d , w h i c h na t u re never pardons . "

R a l p h Wa ldo E m e r s o n f r o m Consideration By The Way

xxvi i



V

C H R O M A T I C C A L I S T H E N I C S

For F lexib i l i ty , Independence , a nd Ve locity

A l l o f t h e f o l l ow in g exercises cap ital ize o n the un iq ue chr oma t ic charac te r is t i cs o f th e gui tar . Th e studies

are chromat ic pat t e rns o f f i n g e r i n g tha t can b e m o v e d a s c e nd ing o n e f r e t a t a time t o th e 12t h fre t an d

descending to th e s tar t ing pos i t i on . Ap p l y var ious r i g h t hand t ouc he s w i t h d i f f e r e n t c omb ina t i ons o f

alternat ions. S lurs may also b e a p p l i e d f o r ad d i t i on a l le f t han d d eve l opment . T h e bene f i t de r i ved f r om the

calisthenics is enhanced i f the l e f t ha nd f ingers are re ta ined o n the str ings whe re ve r possible.

| l | Apply to all strings and positions

fi 0 1 2 3 , 4 3 2 1 0 0 1 . 2 3 3 2 1 2 3 ,,4 ,segue

3 2 l

m i m ia i a ia m a m

| 2 | Apply to all strings and positions segue

Q 2 1 3 2 a 4 l 3 1 0 2 1 a 3 l 2 ^,l Z 1 0 a 2 l 1 3 a 2 m 3 i 1 0 2 . l 1 m %$*\\" 1

M r rfr f fir l ^ S

I 3 | Apply to all strings and positions segue

0 i 4 1 4 2 4 3 4 2 4 1 4 0 4 1 4 2 4 3 4 , 2 4 1 4 0 j 1 j „ 2 1 3 j 2 j 1 4

50-^50

To al l positions an d strings @ and ® strings only

f T ] ® 4 0 4 4 0 4 4 04 4 0 4 40 4 4 p4 4 0 4 4 0 4 4 0 4 4 0 4

m4 - T O - P ^ L C T I ^ I I , ^ -

40 4 4 Q 4

n mim\lo a i a

® amaP

To all positions and strings ® and ® strings only

| S I 3 0 3 3 0 3 3 0 3 3 0 3 3 0 3 3 0 3 3 0 3 segue

fay V % x t V f "f r y r'p a ma

To al l positions and strings ® and ® strings only

| 6 1 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2

• * n • — ^ — * n • * • ^ 0 U~ —* tr?

segue

cm

To al l positions and strings ® and ® strings only

r y j I O I i o i 1 0 1 I o 1 1 0 1 1 0 1 1 0 1 segue

mft

^ mi mil C ' ^ 3 ^2 " j o " ^ 2 ' ta 1 aama

xxvii i



Independence Ca l i s then ics

T h e f o l l o w i n g studies ar e a l l based o n mo va b le F o r m I , Type 1 d i mi n i sh ed seventh chords . Each c ho rd

is m ov e d chrom at i ca l l y u p the f inge rbo ard to the 12t h f r e t an d descends to the f irst p o s i t i o n . E a ch exercise

stresses ind epe nde nce o f the l e f t ha nd f ingers in l i f t i n g an d sett ing do wn one f ing er at a time wh i le ke epi ng

the o thers f i r m l y seated. Th e n p airs o f f ingers are trea ted in the same fash ion, an d f ina l ly thr ee f ingers are

l i f ted an d set leavi ng one f ing er seated in p lace. Some i n t e r e s t i ng effects are created w i t h these exercises

when the chord i s m ov e d r an do ml y o r by des i gn by sk ipp ing cer ta in f r e ts .

. . Sustain three fingers, lift one

4 , c

' % ^ I 1 ^1 1

; _ segue

8* i y r 0 '* r 9 m ' r r f ' i f

•9

0 1 0 0 1 0 0 1 0 0 i 0 1 0

Continue as above

E E ] 0 J ^ J ) 2 0 2 0 | 10 |

40 3 0 3 0 3 0

4

0 4 0

segue

4 0 4 Q

O Q09-

12

Continue as above, sustaining two fingers, lifting two

4 y r i f a ]

03ted*

segue

f0 1

GEContinue as above

4feo i l

segue

11

Sustain one finger, lift three segue

18

H-»»

1 A ^

2 :1 •

— ± H

#

- t r f 4 I S

8- 3 * 1 H I 1 1 s J Ji —

Continue as above

••

s | —

4—B ~ #

segue

5 l

•0—0- Hi d

» — -

xx ix



Thr ee Oc tav e Chro ma t i c Sca le Ex er ci se s

T h e f i rst scale is sh own in its co mp le te f o r m ascending the f i rst s t r ing to the 12th f r e t and descending on

the same str ing. However, each succeeding scale ascends on a different s t r ing in the order of the six strings,

b u t always e nd in g o n the f i rst s t r ing at the 12 th f re t . Con t in ue ascending an d descend ing in this m a n n e r u n t i l

al l six string s have be en trave rsed at the 9 t h p o s i t i on . An extension of the f o u r t h finger is necessary at the

12th to the 13th f r e t for every s t r ing except the t h i r d s t r ing , as ind ic ate d in the pa r t i a l l y completed scale

shown i n the fo ll ow in g two examples, 23 an d 24.

XXX



Book I I - The Sharp Keys

I N D E X

C M A J O R - A M I N O R

N Q T ITLES PAGE

1 C Majo r Scale - First Position - Cadence 2

2 C Maj or Scale - Extensi on - Scale Patterns 2

3 Tria ds on the C Majo r Scale 2

4 Root Position Triads - Close Posit ion 2

5 Root Posit ion Tria ds - Op en Positi on 2

6 First Inversion Triads - Close Posi tion 2

7 First Inversio n Triads - Op en Position 2

8 Second Inversion Triads - Close Posit ion 3

9 Second Invers ion Triads - Op en Position 3

10 Sum mar y 3

11 IN TER LU DE I : ... On the Meadow 3

12 Seventh Cho rds on the C Maj or Scale 413 Pri nci pal an d Secondary Sevenths - First Posi tion 4

14 Root Posi tion Seventh Chor ds - Op en Posit ion 4

15 First Inv ers ion Seventh Chor ds 4

16 Second Inve rsio n Seventh Chor ds 4

17 T h i r d Inve rsi on Seventh Chor ds 5

18 Summa ry - Seventh Ch or d Inversi ons 5

19 INTERLUDE I I : ... View from the Hill 5

20 Leadi ng-t one Sevenths - Reso luti on Studies 6

21 Summary - Hal f-d imin ish ed Inversions 6

22 SIMPLE GIFTS (Shaker Hy mn ) 7

23 Natural Mi no r Scale - First Posit ion 8

24 Harmo nic Min or Scale - First Posi tion 825 Melodi c Mi no r Scale - First Posit ion 8

26 Har moni c Mi no r Triads - Cadence 8

27 Harmon ic Min or Scale - Ext ens ion 8

28 Triads on the Melod ic Mi no r Scale - Extended Cadence 8

29 Melodic Mi no r Scale - Exte nsi on 8

30 Triads on the Natu ral Mi no r Scale 9

31 Root Position Harmonic Minor Triads - Close Posit ion 9

32 Root Position Ha rmo ni c Mi no r Triads - Op en Position 9

33 First Inversion Minor Triads - Close Positi on 9

34 First Invers ion Mi no r Triads - Op en Position 9

35 Second Inversion Minor Triads - Close Posit ion 9

36 Second Inversi on Mi no r Triads - Ope n Position 937 Seventh Chords on the Ha rmo ni c Mi no r Scale 10

38 Pr in ci pa l an d Secondary Sevenths 10

39 Root Posit ion Sevenths - Op en Posit ion 10

40 First Inv ers ion Sevenths - Op en Posi tion 10

41 Second Inve rsi on Sevenths - Op en Posit ion 10

42 Second Inv er si on Sevenths - Set 2 10

43 T h i r d Inve rsio n Sevenths - Op en Posi tion 11


45 CORRENTE (G. Fres cobal di) 12

46 I N A WO OD ED GL EN 13

47 PRELU DE-A naly sis 14

48 PRELUDE 1549 ALLE G R O 16

50 A N D A N T E (J.S. Bach) 18



C M a j o r - A M i n o r

W i t h some exceptions, blocked close posi ti on seventh ch ords are, fo r the most part, imp rac ti cal o n the guitar

finge rboard unless arpeggiated i n par t or totally. The bloc ked chord s thr ou gh ou t are presented prin cipal ly for

reference.

C M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

$«jjjUfli rrrrricri r m m j i ' m \j i m < ns 0 H 3 F T I

A u t h e n t i c C a d e n c e

Th e Pr incipal Chords

C F C G7 C

f T Ti r v i | v - 7 i

C M a j o r S c a l e E x t e n s i o n : T w o c o n j o i n e d t h r e e - s t r i n g s c a l e p a t t e r n s .

c

1 2 4 1 ^ J ^ - n 1 3 1 Z m-*-*- f-m-m > ^ 2 1 4 2 4 1 2 3

Dm

T r i a d s o n t h e C M a j o r S c a l eEm F G A m

Toni c Super-tonic Median t sub-dominant do mi na nt sub-mediant

B° cleading-tone Tonic

1

3=p

I I in i v :

-Lower Tetrachord- - - 1

; v v i v n °

i Upper Tetrac hord - -

R o o t P o s i t i o n T r i a d s : C lose Position 1 • 3 • 5

U i l j - P l j f f f l f ^ i ^

R o o t P o s i t i o n T r i ad s : Op en Vo i c ing 1 • 5 • 3

r rF i r s t I n v e r s i o n T r i a d s : C lose Po si ti on 3 * 5 * 1

2

F i r s t I n v e r s i o n T r i a d s : O p e n V o ic i ng 3 * 1 * 5

•? ? 0 . 3 1

9 o i . 3 2 J , 0,

^ ^ ^ ^ ^ ^ ^ ^ ^f r f T



A 3 4 2 3 4 1 2

r t * — r

3 0 2

4 l 1

1

2 4

n

»

1 I

T r

W M r 1 '• r T i

J5 I 1

! " 1 —V~ ft•- 4

fti-. P f T J | i f ] r T l l r f F f = l l

8

S e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i n g 5 • 3 • 1

r t i f H . t f j ' l f l ^ ^ Slff lft

f t f r r j 1 1 1 1 1 I ' V- y r f fS u m m a r y : C l o s e P o s i t i o n C M a j o r S c a l e T r i a d I n v e r s i o n

c

— 1 — 1 -• — 1

Dm Em

h i 1

F

4 > 2

G

0 1

1 3 *

8

B °

if y r3 J I j[ a

i t l r i 1

c

^ 1L i T f ^ 1 r -i ,f '

8

p 4 1:

— — > —

• 9-i

j

; 1

— 1

8r r " r r 1 * Mr J

101



S e v e n t h C h o r d s o n t h e C M a j o r S c a l e

Cmaj7 Dm7 Em7

4

Fmaj7

0

G7 Am7

4

B^7

1

Cmaj7

#112

! 17i

H7 U17 IV7-Lower Tetr achor d - -

(4)

V7 VI7 v n ^ 17Upper Tet rac hor d - — — -

F i r s t P o s i t i o n P r i n c i p a l a n d S e c o n d a r y s e v e n t h C h o r d s

C Cmaj7 Dm Dm 7 F Fmaj7 B<*7 B°7 G7/B G7

& — M13 B E

•G =-1-6g : 2(v i p z :

r r r2

T r T

R o o t P o s i t i o n S e v e n t h C h o r d s : O p e n V o i c in g 1 • 5 • 7 • 3

. , l 2 1 3 j 2 t 3 l ! _ 4 ^ J 1 1 3

1 4 g r R f

r r ^ nr rf rI (5

T

©

1 4 3 21 3 2 4 0 1 1 2

ZZ3I

® rF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 3 • 1 • 5 • 7

4 —- 0 : ~ I ~ ~ ~m — **

4 3 n 1 3 ^

4 ^ 4 '

5 = :

rf f r f f f T

S e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 5 • 1 • 3 • 7

3 1—4 2 3 1

F f

4 2 3 ±Ji 2 3 1

I - a 1

i s1 2

f 1 V ' f



T h i r d I n v e r s i o n Se ve n t h C h o r d s : Ope n Vo i c ing 7 • 3 • 5 • 1

3 i i i j j J C5

S u m m a r y : S e v e n t h C h o r d I n v e r s i o n o n t h e C M a j o r S c a l e

Cmaj7

2

Dm7

c i o

J5.

* f T fC 0

Em7

I B ?

Fmaj7

± 3 *

psJ: 4 = f

C3

G7

? 2 i 3 i4 ^

Am7

r T p f3r—f o j t 2 * -

Cmaj7 Am7f f T

4

4 j2 .4 .4¬4-

Em/G G7 C

i * ! I v H i ? 4 ! 1 i * i 1 J

Interlude I I

Smoothly R.S. Pick

ftp? JIIr T »r 'f p Y F op £ t i 11

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R e s o l u t i o n S t u d i e s C M a j o r

T h e two lead ing-tone seventh chords , viz . the ha l f - d i m i n i sh ed a n d the ful ly d imin ishe d seventh , a re bo th

t rad i t ional ly c lassif ied as do mi na nt seventh chord s ( V 7 ) . Thu s, any one c ho rd or var ious com bin atio ns can resolve

to the ton ic ( I ) c ho r d . Th e fo l l ow i ng series o f ch or d studies are in effect p ro lon ged o r ex tend ed res o lut i on to

the ton ic ch or d. Also, the fingering of the d om in a n t seventh ch or d w i t h d i m i n i s h e d f i f th r ema ins the same

moved seven f rets for a n inversio n o f the same ch o rd . See also Ap pe nd ix C conc ern ing cho rd fo rms and types.

B 0 7 B°7 G7G7-5 C

F o r m I T y p e 1 : ® @ @ ® St ri ng s

simile

20

A. ml4-e : . 4

i ?3 f

nT T T T T "

V7 1

B<t> 7 B°7 G7 G7-5 C

1 J l

F o r m I T y p e 2: ® ® @ © St ri ng s

m , 0

B<t>7 B°7G7 G7-5 C

F o r m I I T y p e 1 : ® ® ® © St ri ng s

4

F o r m I I T y p e 2: ® ® ® ® St ri ng s

B^7 B° 7 G7 G7-5 C2 . 3

3 g 101 0%4-%-01 * 1 , * 2* J §- tt

f T T T T f3-fi^

T T T T f

F o r m I I I T y p e 1 : ® ® ® ® St ri ng s

WI B°7G7-5

S u m m a r y : I n v e r s i o n s o f t h e B 0 7 c h o r d

P

T y P e 1 , I 4 J 4^2 . £ J j

p s i i f f '»? . | ; f r ? r | f i i d J g21

ft*E E

0-12-—„^



Simple GiftsAr r . R. Pick Shaker Hymn

Simply Flowing

4 J £ J i r j | 4 j J J ai*—#

C r 3 T IT f a f f f \ f #£ . f

8 2

TO ^- » J I * J 0 « M f r F f I f i . r

f 3 t '

r r V r V f r f 1 1 1 r r ? f//we

C 5 „ C3 C5 C 3 C 3 C 3

Slower

f 3 rC 6 ^ 3 Q2

C5 ^

I If pi; f 'r \ . I;K i . i T " I f ,,. r ^

T

C3 C3

4 C6

D. C" ain r f r f f fa/ Fine

Copyright © 1992 Editions Orphee, Columbus, OH, 43221

International Copyright Secured. Made in U.S A. Al l Rights Reserved



23 flF^

A Minor - C MajorA M i n o r S c a l e : M o d a l M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

3 - 1 - 3 i

i S P p i i

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

2 4 j S F ^

A M i n o r S c a l e : H a r m o n i c M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

25

A m i n o r Sca l e : Me lod i c M i no r - First Posit ion - No rm al Fing eri ng

4 1 2 . . l i l * i • 3

i j j j O J | 3 f l r f t f l r f f C C C f l J > U J J i l i n-fit'

T r i a d s : H a r m o n i c M i n o r

Am B° C Dm

C a d e n c e

E F Gtf° Am A m Dm A m E 7 Am

04 -

26

T-0 -

i i n m r v ! j v v i v n ° i :

i Lower Tetrachord 1 1 Upper Tetrachord - - - ^

TI

^ 2"-=

IV r$ r 7

A M i n o r S c a l e : H a r m o n i c M i n o r E x t e n s i o n - T h r e e c o n j o i n e d p a t t e r n s

1 3 4 1 34 2

7 ftrF^

1 2'

u - 6 - '

ffl^i'niijjjy I I

T r i a d s : M e l o d i c M i n o r

Am B° C DmE i t

G#,° A r I *

C a d e n c e ( E x t e n d e d )

A m Dm A m E 7 A m

C 104'±32

C5-6'-

23228 7frFE

vi ° vn ° if T

I IV V - 7

ri

A M i n o r S c a l e : M e l o d i c M i n o r E x t e n s i o n - S i x c o n j o i n e d p a t t e r n s

29

ft 1 34 1 3 1 3 '4 1 2 4 l j j j j f l

m. —,• ~ i— a z~ —Ffff-1 1



A m B°

1

T r i a d s : M o d a l o r N a t u r a l M i n o r

Em FDm

G A m

\i if 130 (k V \

8 i i

-Lower Tetrachord- — 1 L

-Upper Tetrachord -R o o t P o s i t i o n T r i a d s : C lose Pos i t ion Tr iads 1 • 3 • 5

V VI VI I I

31

Fi 4 2 1 4 2 1q 2 1

^ t 4 tfl I S W I

8

r f r r r i r if 'r r 1

1

i n

i T

r T

f Y V - F

r r f ' ffR o o t P o s i t i o n T r i a d s : Op e n Vo i c i n g T r i ad s 1 • 5 • 3

32;

ff T r r *' f f f fF i r s t I n v e r s i o n T r i a d s : C lose Pos i t ion 3 • 5 • 1

7hr-ff ^ • ^ -0103 rf3rP. rtJrV\ rTJj s r •

J1

"r1

r r 1

r f33

F i r s t I n v e r s i o n T r i a d s : O p e n V o ic i ng 3 • 1 • 5

34

r r rS e c o n d I n v e r s i o n T r i a d s : C lose Pos i t ion 5 • 1 • 3

frttti plfflftjto Of m fPrflmm ^r f *r r T "

1

" 1 1 1 1 11

r T f Y'"35

rS e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i n g 5 • 3 • 1

. ^ j . 2

riM rt)4. rftfl rt d36 — _ j : j i * — ~ : ~ — * - S 1 — — -• • >

^J

7 f V- rYY T F VYFf f



10

*Am7 B^7

*Am(maj7)

S e v e n t h C h o r d s o n t h e H a r m o n i c M i n o r S c a l e

E7 Fmaj7 G#°7*Cmaj7 *Dm7

*Cmaj7+5 *D7Am7

3

37r.T*:i\'. -2-

i n ^ 7 ffl7

Lower Tetrachord- - -

3

rv7 V7 VI 7 vn°7-Upper Tetrachord- - •

17

P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s - A M i n o r

A mA m ( m a j 7 ) A m 7 B<*7 G#°7 E7 D m Dm 7 B* 7 G#° 7 E7

o A o

Am

38

^ ^ ^ T T T i#pT I r • r 2fR o o t P o s i t i o n S ev en t h C h o r d s : Op en Vo ic i ng 1 • 5 • 7 • 3

2 « - i l 1 * 1 3 ^ . 4 0 2 ^ i 1 2 J L - 4 1 2 2 4

* I — J * a% :

rr r1 3 2 4

f rT

f r f r r rF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o ic i ng 3 • 7 • 1 • 5

l J o 2 l 3 l J 1 42 4

1 3 1 3

1

r r

~^—T rS e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o ic i ng 5 • 1 • 3 • 7

41

1 ^ 1

0 0 3 1 1 3 0 4 2 a 1 - J 2 *1 4 3 1 4 „ s U 0 1

^ 9 a g

r — T

rf f f f

ir — r Y ff r

*Note: These seventh chords are occasionally interchanged, i.e. drawn from the melodic minor.



11

S e c o n d I n v e r s i o n S e v e n t h C h o r d s ( S e c o n d Se t ) : O pe n Voi ci ng 5 • 1 • 3 • 7

T h i r d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 7 • 3 • 1 • 5

A 2 3 l l 3

4-

1 2r - T -

l l 2 ! « 00 2 i L

i i 1 3

Im-^

8 r

as _ . m

r

—0—

r J ¬

r

Mm

r

4 -

r

= t = t 1f? 1 #r r

mr- m — i * —

—w 9 T»

r r" \

S u m m a r y : S e v e n t h C h o r d I n v e r s i o n s



12

CorrenteAr r . R. Pic k Giro lamo Frescobaldi

1583 - 1644

Copyright © 1992 Editions Orphee, Columbus, OH , 43221

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Leisurely

In a Wooded Glen3 4 3 4

2 4

13

Richard Pick

1 2

4 6 f i h C 7 : 0-. 0

i 5 -

1 J

f 1-9- 'ST

a tempo

ml C L T y tity OJ him fas lyc-Lr J£>oco a poco

J* 0

J1 —tf

J

4 m1— J J NJ J i

8

?

f ^4- '

-G ^

r F

o * «2.

T

« 0• 0*

9^ '•

4 *

r c C7 C5 C7 C5 r 0

a tempo

rC7

rC7

1

fpoco a poco nt.

C5

r

C5

jJl,dJ.alJ i r' i r r^' dJ

I

C3 C5 C7

4CIO

C8

6 — i .

slower C7

JrC5

r -r

iC5

m 0 ' *] f • " 3 „ ^


International Coovrieht Secured. Made in U.S.A. Al l Rights Reserved



14

PreludeHa r m o n i c Analysis

M u c h time, energy, a nd pat ie nce ca n be saved i f th e ha b i t o f analyzing a piece of music bo t h harm oni cal ly and

melodical ly be practiced p r i o r to att emp ti ng to play it. Th e fol lo win g examp le illustrates ho w the ha rm on ic

analysis can also be useful fo r deve lo pi ng effective fi ng er in g as wel l. See also Bach's D Mi n o r Prel ude .

Moderato Richard Pick

* C Cmaj7 , F Dm 7 . B* 7 Em . B**7 B^7 . C Em

+ D F

4-49- -4-

47 zmWz

Dm Dm 7A m Am7+

G9 G7

Tc

3

r rFmaj7 B»7 r rEm7 Am73 T

, DmI f

2

f,Dm7(sus4) B«*7 T, Em Dm 7

D

i

D m

2^4 + v

T TB07 G7

r TE°7

T rEm

rEm

C Pedal (root omitted)

3 ,

cF

E°7AhT i E m B^7 Em A7-9

f 3° rCtt°7

rDm c j ° 7

rA m

rB°7

r TiGtf°7

rA m Dm

rEm

B D

m Of

Arn7 Dm 7-5

f TEm G7 C

f T f TB°7 . C 1

T ^ T *Note: This chord must he arpeggiated.*Note: Contemporary chord symbols are used here with the chord name above the line and its

inversion bass note below. On the following page, however, the traditional thorough basssymbols are used with roman and arabic numerals.

5 =



Prelude15

AllegrettoRichard Pick

148 0 ~-0 0 „-#

rf f r " r

I 17 IV M7

rv i r ^ m

rvn*7 v n * f

300 d

r ri? m r f

VI VI 7 I I 117 W V7

0 1 *zzj* J i L * 4

4 0f X: fi i2 V I7 H IV 7 4 nn r

VI7 "vn (of n)

atZZZMt0* * 0-00 0—.0- 0 0 4 0

0 0

r r r r rH7(sus4) V I F 6 ffl H7 V T 4

3

fV9

17 f r rv n of i v rv(C pedal)

5

2 7 2 3* —

— #

f L t Z t f;n ' r v i n9 " i7 i ' v i ^ ^ ( o f r v ) T i v

50 _ 3 t

— #

T

E r6 I v 6 vn^7 r fi v -9 of i i lvn°7 o f n n

10 0 0^ 0 0—=-#i# 0 0 0 0 0 #

r

* —

VII# 5 of VI V l |r 1 . 6

VI I b 53

f rVH°7 of VI 1 V I

'mi

Copyright © 1992 Editions Orphee, Columbus, OH, 43221Interna tiona l Cnnvricrht S nir H MaH in TI S A AH Rio-Vite B s m rl



16

Allegro

49

J 0 2 4 0

9 B==:• ._

9 ' I n 5 ^0 **-

F- 1 «- J — - J -

3—j— -0 -z 0 \ j 0 = j ? = : - # — • H = - * — = * ^ - ^ - * 4 — ^ - ^ — - « J ^ — i r ! r i i i i i Ti

is

i

2 , 1 3 2 3 1 3 , 1 2 32 m

L J J J ^ ^ j q ^ ^ ^ ^ ^ M — I I I I

iCopyright © 1992 Editions Orphee, Columbus, OH, 43221

International Copyright Secured. Made in U.S.A. All Rights Reserved



Andante from Sonata I I for Solo ViolinArr . for solo guit ar by Ri cha rd Pick

Andante Sostenuto

J. S. Bach

(1685-1750)

00 0

can tab He

4 _ 4_- 4 - 4, C2 4 C7 2,

J- 74T#- 3

o p <* f* 1 F F

i

C3

3 0 0

— 1

| jTTT] J8 — r — r — " ~ ~

C3_4 - 4 3 4 1 m C21 4 3 4 1

P

3 1 0 4 1 0

33

v o# # » f ,

2 V *

2 4 4 1 p

t r t r f

» — — _

c i

* 4 J- J>

, n / T T ^

* r — r — r — r — r — « r | | , g r r — p — p F g = »

r F r rCopyright © 1992 Editions Orphee, Columbus, OH , 43221

International Copyright Secured. Made in U.SA. A ll Rights Reserved



4 2 4

m

C7 19

3 J 07^3

r

3 4

fa

C4 .3 C2 4 2 4

4

A 4 C 2

4 4 4 2

5 — r i ^ p 0 i h » 0

#

C5

i C42 4

1 C2

4 -i~*T 0

C3 .<

f i r

a

1 4 — *

r r r r r r

4 0 1 ° 1 DO

z4$EEE 0 - 0

4 - - P- 5 F ^ F

C3 3 43 4 3 1

CI

t>0-

4

1 4 3

- 4

211 3

0 10 0

8 2t\>0 2-t*- O '-0- ? 1

'7

i , „ _ , r — • • m „w * 1

8

i J » J — — J — h

' * E L J0

t _ J :

^ J



20

INDEXG M A J O R - E M I N O R

N e T ITLES PAGE

1 G Major Scale - First Positio n - Cadence 212 G Maj or Scale - Exten sion - Scale Patterns 21

3 Triads on the G Maj or Scale 21


5 Root Posit ion Tri ads - Op en Positi on 21

6 First Inv ers ion Tri ads - Close Positi on 21

7 First Inv ers ion Tri ads - Op en Posit ion 22

8 Second Inversion Triads - Close Posi tion 22

9 Second Inv ers ion Tria ds - Op en Positi on 22

10 Summm ary 22

11 INTERLUDE I I I : ... Fond Farewell. 22

12 Seventh Cho rds on the G Majo r Scale 23

13 Pr inci pa l an d Secondary Sevenths - Firs t Posi tion 2314 Root Posit ion Seventh Chor ds - Op en Posit ion 23


16 Second Inv ers ion Seventh Chor ds 23

17 Th i r d Inv ers ion Seventh Chor ds 24


19 IN TE RL UD E IV: ... Holiday 24

20 Lead ing-t one Sevenths - Reso lut ion Studies 25

21 Summary - Hal f-d imi nis hed Inversions 25

22 JESUJOYOF MAN ' S DESIRING (J.S.Bach) 26

23 Natural Mi no r Scale - Firs t Posi tion 28

24 Harmon ic Min or Scale - Firs t Pos it ion 29

25 Melodic Mi no r Scale - Firs t Pos it ion 2926 Extended Har mon ic Mi no r Scale Patterns 29

27 Extended Melodic Mi no r Scale Patterns 29

28 Triads on the Nat ura l, Melo dic and Ha rmo nic Mi no r Scales 29

29 Root Position Harmonic Minor Triads - Close Posi tio n 29

30 Root Position Ha rm on ic Mi no r Triads - Ope n Position 29

31 First Invers ion Mi no r Triads - Close Posi tio n 30

32 First Inv ers ion Mi n or Tria ds - Op en Posit ion 30

33 Second Inversio n Min or Triads - Close Pos iti on 30

34 Second Inver sion Mi no r Triads - Ope n Position 30

35 IN TER LU DE V: A Summer Garden 30

36 Seventh Chords on the Ha rm on ic Mi no r Scale 30

37 Pr inci pa l an d Secondary Sevenths 3038 Root Pos it ion Sevenths 31

39 First Inv er si on Sevenths 31

40 First Inv ers ion Sevenths (Second Set) 31

41 Second Inv ers ion Sevenths 31

42 T h i r d Inv ers ion Sevenths 32

43 Summar y - Seventh Ch or d Inversi ons 32

44 INTE RLUD E VI : On aFrescobaldi Theme 32

45 PRELUDE: It Must Be Spring 33



21

G Major - E Minor

A l t h o u g h b locked close position seventh chords have l imi t ed ap pl ic at io n to the fingerboard they are at least

possible w i t h considerable extension of the left hand fingers in some instances. Close position inversions of

seventh chords, however, are severely l i mi te d to specific c hords that can utilize open strings in their formation.

G M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

3 0 2 3 0 2 4 0 2 0 1 3 0 2 3flu 3 0 2 3 0 2 4 0 2 0 1 3 0 ^ 1 _

C a d e n c e

G C G/D D-7 G

' I IV I 6 , V--7 I

1

G M a j o r S c a l e E x t e n s i o n : T h r e e c o n j o i n e d s c a l e p a t t e r n s

3 t2 4 1 2 4 1 3 ' 4

„ , 2 t i , ~

WW* T r i a d s : G Ma j o r Scale

A m Bm C D Em

Principal Chords

C G/D D - 7

F#° G.

t i S * 2-

E E j d II I f i

V---7

fI I i n r v

l Lower Tetrachord 1

; V VI vn ° I j1 Upper tetrachord 1

i r v


2 i3 2 0 4 2 1 4 2 1 3 2 4 g j 2 j » J } , < ] ^ ^

i _ < I •> 9. 1 A 3 i i _

1

2 1 , 1 " . i j i i 1 " U ' i i 4 .

m m m m

* o o o 2

R o o t P o s i t i on T r i a ds : Open Vo i c ing 1 • 5 • 3

o . , \ , * J i L 4

~ _ -4 K » Ad _

f f V r V 'I* r I r f ff f f r f• rF i r s t I n v e r s i o n T r i a d s : C lose Position 3 • 5 • 1

2 0 0 2 l i 2 ^ 2 0 1 3 1 2 0 « ,



22

F i r s t I n v e r s i o n T r i a d s : O p e n V o i c i n g 3 • 1 • 5

f T T TS e c o n d I n v e r s i o n T r i a d s : C lose Pos i t i on 5 * 1 * 3

3 ? 4 * i i i

3j2ji 2^«^° Hjffl j ^ l

r 1

r- r 1

f" f 1 f fS e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i ng 5 * 3 * 1

i f1

St; J-

g rt2r 11 f» L - r — : • ^

P r

r " T ®

1

1 i =\= r* f - t " r

S u m m a r y : C l o s e P o s i t i o n G M a j o r S c a l e T r i a d I n v e r s i o n s

Am ,

~~1 1 ' T "

Bm , i .J | c

tr* — D;j i j« f

En

— • — i i

at 0 *

r <

I — T H -

\i if- *r

+^ 7- i ir

-V¬— ^ J J

- f — 1 — r ~ 1 J J 1

= N

— • — 1

•r r 1 1

J j j — = « — J 1 11

T f f 1 r f a

- f

1

F

10

Interlude I I I


International Copyright Secured. Made in U.SA. Al l Rights Reserved



23

Gmaj7*

Am7

S e v e n t h c h o r d s - G M a j o r S c a l e

Bm7 Cmaj7 Em7

12

117 HI7Lower Tetrachord

rv7VI7 VTt^7

• Upper Tetrach ord - - -

P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s

G Gmaj7 A m Am 7 C Cmaj7 F#^7 F#°7 D7/F D7

l c 1G

J_Q_

-e-o-%-6t — 1 &

•|S>- 2 -|S>- I 2 T T$T 3

r r f f

R o o t P os i t i o n Se ve n t h C h o r d s : Ope n Vo ic i ng 1 • 5 • 7 • 3

3 1

f f f r

r r r r f

F i r s t I n v e r s i o n Se v en th C h o r d s : Ope n Vo ic ing 3 • 7 • 1 • 5

1 3 0 ± 2 41 0

n 2 0 J . 2 ^ _ j1 J . i 3 1 3 1

r

r

T

f r rS e c o n d I n v e r s i o n Se ve n t h C h o r d s : Ope n Vo ic i ng 5 • 1 • 3 • 7

0 0 2 2 3 1 1 9. 3i 4 1 i i « i i L i , 2 ^ U

*= S 3r r n

= J W | . J ** zzmtzr | ft

i U 1 f ^

i J .

r r r

*These chords must be arpeggiated in this position.



24

T h i r d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 7 • 3 • 1 • 5

S u m m a r y : S e v e n t h C h o r d I n v e r s i o n s

Gmaj7 \m7

i d — * "

0m 1

4* — i -

i• rt4 i

3.2-

-«—4^

4-e

" * T

s-

* sf T ^ T

1 7 3 J

— * • f 0 < »

4 - i - \- Crr

n~r

• r f - 2-

f f

fj7

i ^

r 2 "

4

#•—3-

r 2

- M

4_a1

M i i ^

2 T

7

3 J 3 «

4 « 1-2

- * s

2 I

4 -

= * =

H i —ft

-

3-1

2 T

Er

1 — a *

- r

n7

T

4

m

J.

— T

3 « — * J

= 4 =

4_*.—

4^2

8 ' f: i f * r T

± 3 = — «

7

» —

hr *r * r

f -

r' i f ; r 1

Gmaj7 Em7

I , I 2 + 4 ^ : 4_ «. J D7 G

& ^ f if i ; p T r - r I T » r — i f 7 i f j H

Interlude IV R. S. Pick


International Copyright Secured. Made in U.SA. All Rights Reserved ... Ho l ida y ...



25

R e s o l u t i o n S t u d i es : L e a d i n g t o n e S e v e n t h s - D o m i n a n t S e v e n t h T o n i c :

F # 0 7 - F # °7 - D 7 - D 7 - 5 - G

Resolut ions involv ing leading tone seventh chords establ ish in effect a C H R O M A T I C C A D E NC E in contrast to

the three general types of diatonic cadences; v iz . the perfec t o r aut hen tic cadence, the imperfect , and

i n t e r r u p t e d cadence. Th e lea din g ton e seventh chord s are also consider ed to be and fu nc t io n as dom in an t

n in ths w i t h the roo t omi t t ed .

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21

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26

Ar r . by Richard Pick

Chorale J e s u , J o y o f M a n ' s D e s i r i n g

f r o m Canta ta No . 147 Jo ha nn Sebastian Bach

1685-I75C

Andante A i 0 4

2 i<.) . - i J . i J J J

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^ = J . • r - = b =^?—®1* 2:

— ^ — 3

1 : 3

J

3 3 4 4 3

t — rr •> r rT — T

2 4 3 4 2 4 3

"p- 3 ^ fr

1 4 _ 4®4 3 1

r ' "4P-" 4 r ~ r 3~p

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E H

2

\JA) I1

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3 4 2

J — ^ — J —J

— J —

r

^ > J —

2 4

~ n i j i

# a T /

T f •

4 1

J J

f~'

3

— J - ^ L J —

•p-:

3 4 2

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r r

T f

1 3 1

—»»-:

a J

•m-.— * m 0 *

r f

3

- J J J J J* * 0 J

— T

2 4

0- i i , , r T 3 - 7 1 htd •

v f r

t n1 3

J J J J J

2r _ i _ , ' 3 a

— « W *3 r '

r r

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4 3 3

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: = J = - = . :

J J 0 »

T

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mw ^tfl

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28 C5 4 4 2 ' 4 3 ' 4 __ 1 , 4 4

8 0

1 0

J h a -

44 2

t "

1 1 rn1 4

J ^ J-.

4

r ^

1 0

8 1 9

4±4

0 j *

r F

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2 :lz r\

I

, r

i J J J *

3 4

- 0 ^ - . ^ -

la m ii

r — f

—0—-—

8

2

4*=

J4

4

m r-

d 0 m a

f 2 ?

H ] c 4 L i - ,

n i n n 1

— —

K : p : .

C3

r r

4±A

L -J 0

7 f

^ 1

—

4^

- U —

2 " ^ 2 =

' 4

F T

»T

8 9

4*=

f 1

r

•9 m J * J -

* 1 2 / j

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< J . r n8-# « l —- —

0 0 0

, T

r n i I J J

3 - J — J — * —4 P ' 4

r n m

r

f — H

— f - ~ f - ' —

0 * J J-m - S ^ * L-\

E Minor - G Major

E M i n o r S c a l e : N a t u r a l M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

0 2 3 0 2 3 0 2 4 9 , 2 0 1 3 0h ii 0 2 3 0 2 3 0 2 4 » 2 0 1 3 0



29


E M i n o r S c a l e : H a r m o n i c M i n o r F i r s t P o s i t i o n - N o r m a l F i n g e r i n g Em A m Em/B B - 7 Em

2

1

* s T f ' f ' f

I IV 15 V—7 I

E M i n o r S c a l e : M e l o d i c M i n o r F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

2 5 & = 3

X T

E M i n o r S c a l e : H a r m o n i c M i n o r E x t e n s i o n w i t h t h r e e c o n j o i n e d s c a l e p a t t e r n s

0 2 3 0 2 3

S iE M i n o r S c a l e : M e l o d i c M i n o r E x t e n s i o n w i t h t h r e e c o n j o i n e d s c a l e p a t t e r n s

j 1 3 1 4 8 i j * 8 ! 1 4 2 1 42 1

" ® ®

T r i a d s o n t h e N a t u r a l a n d H a r m o n i c M i n o r Sca l es

Em F#° G A m Bm C

J < 1

D , E l ? Em F# ° *G(G+)Am B C

®'^~ XT

D#° Em

M^ i

i i28 fk C

f

2 P 4

, i n° n i r v : i v v i v n i :L Lower Tetrachord -Upper Te tr ac ho rd —'

v v i vn ° i

E m ( F F f m ) G * A m ( A ) B C j Q % J , j j

« l i y y \ufif n r f i f ^ wfI 1 V VT° VTT T ! *l\lntp- AItpt-pH rones in the nnner tetrarhi

T r i a d s o n t h e M e l o d i c M i n o r Sca l e

0 Dj}° Em Em D C Bm A m G F#° Em

V VI ° VH ° I ! "Note: Altered tones in the upper tetrachord are not normally applied to- - - - - - - - - - _ _ 1 tones in the lower tetrachord in minor scales and keys.

R o o t P o s i t i o n T r i a d s : C lose Pos i t ion 1 • 3 • 5

0 » 4

E H

3 i - i :

P

4 1 3 4 1

^ 4 Hif I - \

29

R o o t P o s i t i o n T r i a d s : O p e n V o i c i n g 1 • 5 • 3

30 :

J) § 0 2 0 12 J , 2

~a\ {fa2 1

1 # r f i :

8 f

m

T

*w—a l

J — i —

r

* &%w •T r • - J — A

1 r— J ¬

r

http://ufif/

http://ufif/

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30

31 iVffrtii rftrft'fifei- 0 ft m

r r T " r ' T i 1

J * 1 I J J ' j : u ^ i l ^ ^ ^ J ^ T r f F a

F i r s t I n v e r s i o n T r i a d s : O p e n V o i ci n g 3 • 1 • 5

4is L i l i i s

3 r P f f i fflffl32

S e c o n d I n v e r s i o n T r i a d s : C lose Pos i t ion 5 • 1 • 3

1 J , o i S 1

33

S e c o n d I n v e r s i o n T r i a d s : O p e n V o i c in g 5 • 3 • 1

i l l i L *

\ y ff i f l f f t f l r£rf

-J—— — ff _ a^-.- J = S tz — abusE:i34

ff r r T1 <s>

Leisurely

3 1

Interlude VC3

rR. S. Pick

135

0 3

Copyright © l ^ M t k ^ ^ ^ t o i ™ ^ O H 48221 . . .A Summ er GardenInternational Copyright Secured. Made in U.S A. AH Rights Reserved

Em7

Em(maj7)F$ 0 7

S e v e n t h C h o r d s : E M i n o r Scale

B7 Cmaj7

* Gmaj7 * Am 7Gmaj7+5 A7

1

D#°7 Em7

36

s 3f-4 3-

17 n^7 m7 IV7

3

'V7 VI7o

VII7 17


E m E r m l 7 Em7 Ftf*7 D#°7 B7 A m Am ? F|^7 D#°7 B7Em"TT*

37

^zzz^E. ' 3 < g l * fej . l r j ~ 2 "

f f f T T f ^i f

T fV 7 T



31

R o o t P os i t i on S e v e n th C h o r d s : O p e n V o i c in g 1 • 5 • 7 • 3

F i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 3 • 1 • 5 • 7

F i r s t I n v e r s i o n S e v e n th Ch o r d s : O p e n V o i c in g 3 • 7 • 1 • 5

Second Set

S e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 5 • 1 • 3 • 7

f i V f

T



32

Th i rd Inversion Seventh Chords: Open Voicing 7 • 3 • 5 • 1

3 1

42 a s

f

¥—r — r —

im¬

* • gm

i

! i h *

tS -

p-Hp - f ' » - n — i

P

-H=w

,mzz — » —9 1

- r

Em7

Summary: Seventh Chord Inversion E Minor Scale

^ 3

24 J 1

4 .

43 «—i_ ^

f = T = f f

G m a i 7 J i j U. I*

— 8- j r « it- i . t — i ^

if y 1 f r 1 r ^i i

T r

Am 7

a s

32

4 ^

3 ^

B7 2- «- 1 ^

f If 'iff r ; r

2 ^ -3 ^ Cmaj7

I

U

D|l°7 I

5 1 — j - 1 r r 1'

-m~ a -mr

T ^Em7 B7 Em

I E

' r T 1 r f

f r

A n d a n t e c l

Interlude VI- • ^ 0 5 C3

r

R.S. Pick

4425

^ 3

E * *

cantabile

o+ 0

# I — 1

I"—"1 0 3

' — 3 i l p

C 5 — i

00

• _

9- 0

—i

r 4f" r f •

3 f... On a Frescobaldi Theme



Prelude

Today I heard a Robin sing,

Saw Summer birds upon the wing;

And Winter snows no longer cling

To grassy knolls, I t must be Spring.

R.P.

33

Moderate molto

Richard Pick

C2

1

46 f - r ' f r * p " i = . r ' r r >p \ f ' r ' K ^ " " Tmj5

j , . J . ^

C3

C5

4

r ' " l # r ' v ir

1 ®

' °l\f t \t t I i S g

C7 C5> i i ' i

3 ^

a tempo

0 0-

t i *-4-

t r

J . J . J J

6?/m„ poco rit. .

^ - J - J - J - . -I 1

C3

tfp1 v f 1 f

j . J A . J

C5C4 C5 41

- i i

H ir n -4=»-

r

2 1 i i1 l 2

4 -tt4

I Sa piacere



poco rit.



34a tempo ma dolce1 U <J

rC5

5— f f— £— «L i

s o-o- 3 1 1 si o r H

WW

a tempo4

mpoco nY.

0 3

r

C5

C3

1 A l j• — a

. r

fr r^rrPi|7

>cJ3a piaccre

a tempo primo

1



C3 C 5 I I I J J i 1 ^

V i ' r ' k n 1 1 y 1 ' r ' 1 y r r t f

i . J . J , J . , J „ J , _ - J J

j ' - r t;t M/f f r f M F r r f f p^r v

1'°.;, ., \'..J

.1

.1

.l-.r~~ni, V tJ

i l

—!iq?> •

_i iff <r K 1 r i i "r i rv 11 > - m > '$ - O - I I | 1 1 } r a pi

———- Meno rnosso ^ ^ | 4j J | | |

mo/to m c r I

—— Har l2

-8¬— e j \

TO <2 7 7 1 — *-

v ~ ™ r r r * p1

ra//.

7

r r r p JPJ

—* \

: fine

. . . I t M us t Be Spr ing ...



36

INDEXD M A J O R - B M I N O R

N a T I TLE S PAGE

1 D Majo r Scale - First Position - Cadence 37

2 D Maj or Scale - Extens ion - Scale Patt erns 37

3 Tria ds on the D Majo r Scale 37

4 Root Position Triads - Close Posi tion 37

5 Root Posi tion Tri ads - Op en Posit ion 37

6 First Inversion Triads - Close Posi tion 37

7 First Inve rsi on Tri ads - Op en Posit ion 38

8 Second Inversion Triads - Close Pos iti on 38

9 Second Inve rsi on Tri ads - Op en Posit ion 38

10 Summar y - Tr i ad Inversions 3811 INTERLUDE V I I : Butterflies 38

12 Seventh Cho rds on the D Maj or Scale 39


14 Root Posi tion Seventh Chor ds 39

15 First Inve rsi on Seventh Chor ds 39


17 T h i r d Inversion Seventh Chords . 4 0

18 Summar y - Seventh Ch or d Inversions 40

19 INTERLUDE V I I I : Quiet Cove 40

20 Res oluti on Studies 41

21 Summ ary 41

22 A L O N G W I ND R IVER 4223 Natural Mi no r Scale 43

24 Harmonic Min or Scale 43

25 Melodic Mi no r Scale 43

26 Har mon ic Mi no r Extensi on 43

27 Melod ic Mi no r Extensi on 43

28 Tr iads 43

29 Root Position Harmo nic M in or Triads - Close Posi tion 44

30 Root Positi on Ha rmo ni c Mi no r Triads - Ope n Position 44

31 First Inversion Min or Triads - Close Posit ion 44

32 First Inver sion Mi no r Triads - Ope n Position 44


34 Second Inversi on Mi no r Triads - Ope n Position 4435 INT ERL UDE IX: Abandoned Farm 44

36 Seventh Chords on the Har mon ic Mi no r Scale 45

37 Pr inci pa l an d Secondary Sevenths 45

38 Root Pos it ion Sevenths 45

39 First In ver si on Sevenths 45

40 Second Inv ersi on Sevenths 45

41 Th i rd In ver sion Sevenths 46

42 Summary - Seventh Cho rd Inversions 46

43 INT ERL UDE X: Dancing Snowflakes 46

44 W ALTZ : Once Upon a Time 47



37

D Major - B Minor

4

D M a j o r S c a l e : N o r m a l F i n g e r i n g

02402023 0 2 ?it u u o m0m ^

P r i n c i p a l C h o r d s C a d e n c e

D G D/A A-7 D

<ii;8»|ga

>llJlLl; <l

i rv r| v—7 iD M a j o r S c a l e E x t e n s i o n : T h r e e C o n j o i n e d S c a l e P a t t e r n s

2 strings

13 4 0 13 2

J string

2 4 13 " V o 4 1 i -

m mmu ••- u n-i •

6) - D

® _®

J string

T r i a d s o n t h e D M a j o r S c a l e

D Em F# m G

•4 -1 1

A Bijn

1

C#o D

1 J 1? 1

3f ; a2i n in

-Lower Tetrachord-

rv v vi vn°Upper Tetrachord



f f T g

rF i r s t I n v e r s i o n T r i a d s : Close Position 3 • 5 • 1

1 % V11 2 112 _r fHtfr f m

2rM J i¥'

8

r r ^ f^ 4

J

4

f f r f



38

F i r s t I n v e r s i o n T r i a ds : Ope n Vo i c i ng 3 • 1 • 5

2 i 11

= T * I— —~ _ I J 90- \ 0- J I ~ I * « L «l ~-

f S e c o n d I n v e r s i o n T r i a d s : C lose Position 5 • 1 • 3

y y- r T T T f- v f V™f r rS e c o n d I n v e r s i o n T r i a d s : Op en Vo i c i n g 5 • 3 • 1

3 j 2 OJ 3,

V V V 'f 1 T-'f1- r V' |J V - V / f

S u m m a r y : D M a j o r S c a l e - C l o s e P o s i t i o n - T r i a d s I n v e r s i o n s

r

D

•J ;J i

Em

-6- ! 1 1

F#m

r i — 1 — h + i-j \i if — * f — i t 2F 1

ff 4 if »f T J

ST i ' t

'7 M ' I

[ i f f i

i«F r 1 1

ST' 1 1 H

r ^ J - r l » 0- = J = i 4—

—I- 1 —! — p

i 1 ' r 1

, — * ^ — i*y 1 i r ^= r = f

10

Interlude VI ILight ly 4 C 2

p j ^ l i / J ^ V l J J i i l l M | i l H y

R. S. Pick

C2

4 i111 :

•3-

C5 4

r rC2 l i 4

W

rr 0



poco rit.Butter f l i es .



39

Dmaj7 Em7

S e v e n t h C h o r d s o n t h e D M a j o r S c a l e

F#m7 Cmaj7 A7 Bm7 0 * 7

112;

17 117 ffl7

Lower Tetrachord- -

IV7i i

_l L

V7 VI7 VII7 17

- - -Upper Tetrachord--


D Dmaj7 Em Em7 G Gmaj7 C#4>7 C#°7 A7/C A7

Z2 V

D

1 fj Yd

O p e n R o o t P o s i t i o n S e v e n th C h o r d s : 1 • 5 • 7 • 3

T T 2 f 0

1 J . i 4 2

2 J .

I i 4J5 . — 3 - $ -

14 >f f #(f zz

r

T

r

T

f f — rF i r s t I n v e r s i o n S e v e n th C h o r d s : O p e n V o i c in g 3 • 1 • 5 • 7

3 1 2 1 4 —

frf r F r T r

T0 2 1 3

r r r f r rS e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 5 • 1 • 3 • 7

16

3 1 2 3 0 2 3 i A o o l

f r r 7

1 1 2 3 1 4 ! 2 1 J .

I3.fi-

http://i3.fi-/

http://i3.fi-/



T T-yr ML 0 "

1 t f f

Summary: Seventh Chord Inversions

C7

Dmaj7C2

^4 ^: 1-Em7 4_fi.

.1 &18

j tf T r rf f f T '2r

F#m7

M M

C2 4 _Gmaj7

i- t «

4,

_ -»-pr

r 5

^C2 C5

2 j Bm7

w

C73.^.2

r if TDmaj7 Bm7

2"

C$07

i Am

43z r

A9 D

4*

Drif t ing

3 4

a; 2

Interlude VIIIi2 4

1 11 4 1 4

1 11 4 13

R.S. Pick

1 * i 2

SB3

2 13

2 02

1 0

4=m 0 0 0 0 — 0 0—0- 0 m 00 0 0 0 01 0

M M f8 f f r f T fMeno mosso

2

3 1 C23 C3

10 2 2

fC7;

C4 32

1 1 <7\

r f 4 f Y Y j3

f rallantando a finef f



rQ u i e t Cove



41

R e s o l u t i o n S t u d i e s - D M a j o r : L e a d i n g T o n e S e v e n t h s - D o m i n a n t S e v e n t h s - T o n i c

c # 0 7 _ ^ # °7_A7-A7-5-D

F o r m I T y p e 1: ® © © ® S t r i n g s

C#*7 d ° 7 A7 A7-5 D

20-

2 J 3 J o j 4 J J 1 4 3 , 4 4 l i f i # 55:34*4 4 \ii litlT I I T i ¥ i i ? T T T i a r * r

I

F o r m I T y p e 2 : ® © © ... © S t r i n g s

C^7C $| 0 7 A 7 A7-5 D

i a « "j ijfi |«nres;t,;~T;i " T \ " % ¥ d l d \" d a d ||8||"" r1"* |lg

i i , * I? 2? | Hoi"* |'d * |ig||* * l 3* i * I lla»3»l»8«fe

7tr f f f TT T f T TT T 5f f r r 1 1 '

=3^*41

3- lkJ 1 1 l j 1

1 J 1 J 12 J 3j 18 g 1(1* 1 m 1

4 ^3

F o r m I I T y p e 1: © © ® © S t r i n g s

C|t*7C|t07 A7 A7-5 D

^ 1 J i j l l ^i l a

4-«-

' r r ? r r

C#*7 C#°7 A 7 A7-5 D

TT rr rF o r m I I T y p e 2 : © © ® S t r i n g s

n ff f f l ^ f f f r r - TT r r r 7 * ' r

; » l b J

C#4>7 Cjt°7 A 7 A7-5 D

F o r m I I I T y p e 1: © ® © © S t r i n g s

$ f I f i f f W T T Trr r rr T r ' ? r rS u m m a r y : I n v e r s i o n s o f t h e C* 0 7

n : J - f - i :

4_ i± j

4, T y p e 1

aJ 4 . J . 4 - * - 1 4 J . J

If f T r r 1 1 1 r r f f21

rr r

4

Type 2

f T45

3 a

I4

r v f r f H Pi

T f T T T



42

Along Wind River

Quietly Flowing

Richard Pick

C2\

22

31

r ©-Dmjp

rail.C5

a tempo

t—^ — ^

,* * 9 * * — ?:± •\— 3

C7

i©* » * m 9 m %

r r =s r r f TC5 1

1:1=1

i i--W—r

M

i il ! — i l— -4T3

<s 1

l=|M% 9

• i 1—- » —

1TT

•V1

=i*=P

a tern

r> 1 1 S-

PO

: *i

rit. '

1 pT * w m ~ 9 i

\ 9 m 9 m 9 m w_ »

i ±n n n P~\W * 1

J ^ i l if9

m 9

m 9

m m >•*rj. 9 9 *

f rC7 ^C l C 4 J N _ J 4 j C5 C2

p = = — 77ip poco a poco ra// <? dim. PP

4a tempo 2

r r in't

= H.l> 4

2 $I H.12 |

B- 2 54l —<- —4 —- A: i— \

r

9~-

0

f

d f) 0

r — 3

\ 5

' I 0 9 '\

Z '•

z '¬

•all.5 5

•* •

* — \

pCopyright © 1992 Editions Orphee, Columbus, OH, 43221




43

B Minor - D Major

B M i n o r S c a l e : N a t u r a l M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

2 4 0 2 4 0 2 J 2 3 0 2 3

m mB M i n o r S c a l e : H a r m o n i c M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

C a d e n c e

Principal Chords

Bm Em Bm/F#F#-7 Bm

I IV 1° V - 7 I

fti t

B M i n o r S c a l e : M e l o d i c M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

~~ 'T r r r i JHll | V j J J i l W ^ '

B M i n o r S c a l e : H a r m o n i c M i n o r E x t e n s i o n - T w o M o v a b l e C o n j o i n e d S c a l e P a t t e r n s

_ - - —i

1 3 4 1 8 4 - i : » - 1 2 4 1 1 3 2 0 2 1 2

© ©r f l ^ l f i i ^ J ^ ] l I m i l il 1

B M i n o r S c a l e : M e l o d i c M i n o r E x t e n s i o n - F o u r M o v a b l e C o n j o i n e d S c a l e P a t t e r n s

r "

1 3 4 1 3 1 A <4

1 2 ' 4 ~~ - _ 1

. J -J -T^ ^ © L-... i

N a tur a l M ino r

T r i a d s o n t h e B M i n o r S c a l e

Harmon ic M inor

Bm C# ° D Em F# m G A Bm Bm C#° D( D+ )E m Fit Go i l '

"H ir

Bm

-e-: fr?~

Descending Natu ral Mi no r

37

4p» 2r

Melodic Minor

Bm C#m

4

Lower Tetrachord 1 1 Upper Tetrachord

D Em( E) Fit Gtt° Att° B m

FT



44

29 ; m


4 2 1 3 1 0 4 3 ^ 2 j ^ , 3 r ^ 3 f l j ^ ^ "

f t J — ^ • f 'mm* <

f i r r r r 1 r T »r T f x f r f # $"R o o t P o s i t i o n Tr i ad s : Ope n Vo ic ing 1 • 5 • 3

m30:

F i r s t I n v e r s i o n T r i a d s : C lose Position 3 • 5 • 1

J?fyts rH i

« 3

nl 3

-nP- 131 j I.—

1 4 • — i -r r31:

F i r s t I n v e r s i o n T r i ad s : Op en Vo i c ing 3 • 1 • 5

/Hp :ft'v 2I

1 4

rp.v- # —

if*2

$1 4 1 2 * . 1

I f f . g1

^ 2.• — 9 r-

<jn «K—V r

w

r- r r ' i i ' i =#32

S e c o n d I n v e r s i o n T r i a d s : C lose Pos i t ion 5 * 1 * 3

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

33

3 i 0 2 j , 3 2 - 4 i2 . 3 2 , 4 2

p i

S e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i ng 5 * 3 * 1

l 9 I 9 1 *

Prf

34

r r T f rf rInterlude IX

R.S. Pick

r 4 3

Copyright © 1992 Editions Orphee, Columbus, OH, 43221International Copyright Secured. Made in U.S A. Al l Rights Reserved

F T... Ab an do ne d Far m



45

*Bm(maj7) C ^ 7

S e v e n t h C h o r d s o n t h e B M i n o r Sca l e

F#7Dmaj7

Dmaj7+5 t m 1

4-

Gmaj7

1,

A#°7 Bm7

36 -e- am

f

23 f 3

n m-Lower Tetrachord

4 ^ 4 3 |

m7 IV7 V7 v i7 vn°7Upper Tetrachord - - -

17


B m B m + 7 B m 7 c !^7 A#°7 F# 7 Em Em 7 Cjl*7 A#°7 FH 7

1 J J , . I , I . 1 4 n 4#f- ± s 4 , r J

Bm

372 ttfr W

R o o t P o s i t i o n S e v e n t h C h o r d s : O p e n V o i ci n g 1 • 5 • 7 • 3

l i

38

1 1 3

r — rr r7

f

f rF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o ic i n g 3 • 7 • 1 • 5

Q i 4 „ Q 1 4 o 4 l 3 1 9 2 4 40 3 1 2 o 4 x 16^^-* <• -

39^

f 7 "f—^r — r

1

f r — r

S e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i ci n g 5 • 1 • 3 • 7

2 3 0 ± 2 1 12 3 1 4 2 3 0 1 2 2

1 4

0 00 2 x 3 2 4

1 ^

- i # —

i_m 0 1

r

, f ) , 1

• 1

r

•J

rT — T —

J j 11f — r — r * —TT



46

T h i r d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o ic i ng 7 • 3 • 5 • 1

E E

U 2 3 « i 3 4 J r 11 J . 2 3

1 1 j 3 2 4

41

J ST-

r rr r

T

4Bm7

S u m m a r y : S e v e n t h C h o r d I n v e r s i o n s B M i n o r

C7

C|t*7

J ; i i l l ! i ; f il J ; j d l U f ef ir ' 'r r | ! r '?f if far

42

! f T

Dmaj7 C2C7

I tEm7

5 j J = * P0

F » 7

m Si!

C

i

Gmaj7

2-#

3.1-

4 -fi.

i fr T I ; r 1

A#°7 -6-

3?L

Bm7 F#7C2

Bm

i

Rapidly

3 1 2 2 1 3 1 2 3 1

Interlude X3 i o 2 4 0

R. S. Pick

2 3 r r n i 2 3 i 4 3 ! 2 3

43 I

f2 4 3 1 2 3

1 2 3 C21 2 3 C2

1 2 3

r r r r 7 ^ 7 r r r f • «rCopyright © 1992 Editions Orphee, Columbus, OH, 43221 „ . „ „ ,

International Copyright Secured. Made in U.SA A ll Rights Reserved - U a n c i n g »nowtlakes



47

Waltz

Richard Pick

Copyright © 1992 Editions Orphee, Columbus, OH, 43221International CoDvrieht Secured Made in U S A All RiehtsReserved



rH. 14 a tempo

r r L i

r . poco rit.

r f

r r i j * — — #

f r f r

i i

f r r

2fen**r r

"ST

P iJ 1

ft

f

k h J>J i f 1

C7

r

4 -•-

a tempo al fine

C7l

1 •1*1 «lliif

4

r

T

mo l to

0 " 0 4T

0 ~ —0 1

Har 7

fp/zz.

| , J i i T

Once Upon a T ime



52

F i r s t I n v e r s i o n Tr i a d s : C lose Pos i t ion 3 • 5 • 1

F i r s t I n v e r s i o n T r i a d s : O p e n V o ic i n g 3 • 1 • 5

ii tit,ill Otfi

S e c o n d I n v e r s i o n T r i a d s : C lose Pos i t ion 5 • 1 • 3

•

*• r ir i n = £

S e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i ng 5 • 3 • 1

rH r l V M t i ¥ ir ff f r r T f r f f f rr r r r

S u m m a r y : A M a j o r S c a l e C l o s e P o s i t i o n T r i a d I n v e r s i o n s

4*i ^ I ,J J I

Bm I (

I i J U L

: # m

-1—s— •J — 3 - 1

D

r - — M - 4 =b|

8

=#*

I f 3 f f ;

F i l m J Gtt°

if- >f T 'i

I I f — I f * —

f 'f T '•if t f r 'i

* 4

#=8 ' ^ r r l ;

r

11 J j ,

T i 1 Lr

J j j i

— H —

I =Rih=

+^= H

]

ff" r r f '- J

10

Interlude X IC2

if f H u f . r I texpressive


International Copyright Secured. Made in U.S A . A ll Rights Reserved



53

S e v e n t h C h o r d s o n t h e A M a j o r S ca l e

Amaj7 Bm7 C#m7 Dmaj7 E7 F#m7

12-

Gty*l Amaj7

1

HI m7 rv7 V7 VI7


A Amaj 7 Bm Bm7 D Dmaj7 G#<f>7 G#°7 E7/G# E7

V1F7 17

E7-5 A

4 o 4-6-

2$

3 l j j g . V g

r t T r r r f if= f * i ' rR o o t P os i t i o n Se ve n t h C h o r d s : Open Vo i c ing 1 • 5 • 7 • 3

1 » 1 3 1 ? 1 3 l 2 o l l j . t 3 2

l# ^ T f

0 2

4 1 4 2

r r r rF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c i ng 3 • 7 • 1 • 5

4 l j O l ii 1 , 4 L i 1 4 1 3 1

L - i - < - ii 1

1 2

J \\± :d —

r r7

J • sf r r

16 *4

S e c o n d I n v e r s i o n S e v e n t h C h o r d s : Op en Voi c i n g 5 • 3 • 7 • 1

0 - i 4 1 2 i J L i

f f f f r

fP T 3 , r ^ P r r P i r r p r m i rm

T f f f f r



54

Th i rd Inversion Seventh Chords: O p e n V o i c i n g 7 • 3 • 5 • 1

17

3 4 L i 2 3 j ! 3 J i 3 41 2 0 1

1 4

l-sf-

i5f — r r = f :

f r

r r r rSummary: Seventh Chord Inversions

_- 0

r

Amaj7 4.. . * < : Bm7 . . 1 , .4213-

18-

C#m732 ^ 3 -

Dmaj7

4 1 1

p r n

1-

: • 1 Vim

E7 2 JS .

lllj i j ill j * p jl*ijF if- T T T

3=F

fGtf*7 2J5.

Amaj7 F# ml

iAmaj7 E7 A

r t ' T " t r

Interlude X I I T h e Sanc tuary (2)

4 - # -

r 1

Leisure ly R. S. Pickr o 4 C2 3 A 4 o 4 4

19 :

C24 3

4 03 f

3 4

C53 0 1

1

• 3/

morendo pp

Copyright © 1992 Editions Orphee, Columbus, OH , 43221 " S t r o l l m g 1 , 1 6 P a t h W a Y s



55

R e s o l u t i o n S t u d i e s : L e a d i n g T o n e S e v e n t h s t o D o m i n a n t S e v e n t h s t o T o n i c

I n v e r s i o n s

F o r m I T y p e 1: ® ® <D <D S t r i n g s

G#*7Gtf°7 E7 E7-5 A

2 2 4

3

42 2 *j , 4 3 J 4 J 4 J J L l l J 2 J fui 2jL\M

\m4 i > > i g i i f f i r - i l i a

r f r r P fir t t r r*f T a f 1 r 11 r r 'T-r

343^2

W 3 ^ VH°7 V7 V7-5 I

F o r m I T y p e 2: ® © ® ... ® S t r i n g s

14

=1*

0 — r L s

1 •0 I 1J i i i 3*4

24

3,r.1

V 7-~i-0

" T

- ?

1 — " i i i '

• f »r r 7 7 t T t r t r T T P T 11 "

F o r m I I T y p e 1: ® ® ® ® S t r i n g s

4-«4- M m 4 -6-

3* ST* I 9 ^ 1 ^6l l l i r i Hi 1* 22

f f f T T T f rForm I I Type 2: ® ® ©... © Strings

t i

r

ii f = 3 = f 4 = f c S 1

4-tSr*2Il3*_ Q*_ h *_ljtL ' j ,

-dO- „ - _ l q — A— -ta-

101 0

T T f f f T°r r f f T T rF o r m I I I T y p e 1: ® ® ® ® S t r i n g s

^ "l f 'Iff 'f Vif 'rf f f v r>

r r r f T a T " r r rS u m m a r y : I n v e r s i o n s o f t h e G * 0 7

Type 1 E7

i

T Tf T Type 2

5S1

4;-3-#

r rE7 A

? r r 7 r r ' r ri s :

r r r r



56

Prelude T he Sanctuary (3 )

Allegretto a tempo

2

3 1 J J . 3 1 - J l 'm

0 m 0

C2R. S. Pick

poco rit. 3 2 1mf

4 3 2

L1 3 1 I

IS1

C2

3 4 2

L 4 212 I i

C7r r 2

3 2 0 0 2 0 1 3 2

i i i 2

1 Lrail.

10 3 o o I

$ ..3 J

3 1 3

' poco nt. 1 3 11 3 1 1 3 1 3 0 0 2

J J .ft1C5

, 1 1CIO a tempo

1 3 0 3 1 0

C7

2 0 0

, C7 C3

2 mo I to rit.

C6C7

i 4C5

mlC4

4

4 3 2

2 3 1 4 3 2 4 2 1 1 2 1 12 1 1 2 1

C2

a tempo

4 3 2 2 0 01 2 0

molto rit.

4 3 21 3 1

C4

1ffleno mosso®

41 31It

wo/ro nY. 1 3 4

a tempo Q$C1

1 A

0 4 3 2 3 4 2 3 12 4 1

-a tempo

0 1 0

H. 17

0 * 0 *

poco nt molto rit. r. Th e Pin e Grove .



F* Minor - A Major

57

F * M i n o r S c a l e : M o d a l o r N a t u r a l M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

1 2 0 2 o 42 4 0 2 4 0 2 4 *—• i -1 3 0 2

F * M i n o r S c a l e :

H a r m o n i c M i n o r - F i r st P o s i t i o n - N o r m a l F i n g e r i n g

24

C a d e n c e P r i n c i p a l C h o r d s

F t f mB m F# mC# 7 F #m

14 . 2^sL ..a.

" I IV 16/4 V7 I

F * M i n o r S c a l e : M e l o d i c M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

25

F * M i n o r S c a l e : Harmonic Minor Extension - T h r e e C o n j o i n e d M ov a b l e Patterns

26

<D_ _ _ - -- - - - -3>

F * M i n o r S c a l e : M e l o d i c M i n o r E x t e n s i o n - S i x C o n j o i n e d P a t t e r n s

27 8^3ifeEE3 4 1 3 1 3i 4 1 2

'HrJJJj' 3 > 4 3 T - - ~ ,

« L * 4 n -P*i 1 * 2 14 2 3

I

N a t u r a l Minor

F# m G#°

T r i a d s o n t h e F * M i n o r S c a l e

Harmonic Minor

Bm C#m D E F # m F# m G# ° A( A+ ) Bm C# D E#° F# m

8

1 ,\ 1,

p llf •' ]28 I f f 2j3 f i r

1 n° in i v v v i vn 1 ;

•---Lower Tetrachord Upper Tetrachor d 1

Melodic Mi no r . u Q tfo U Natu ral Mi no r Descendi ng

Fff m G » u A Bm

1

V VI V I I 0 I

H 1

1" f l f f

1

v v r vn° 1



58



0 ? £S

f?Yr Y f V i 'i V- V7 ^F i r s t I n v e r s i o n T r i a d s : C lose P os i t i on 3 • 5 • 1

f ^ |jJ f • f r r T r r r V Yr r rF i r s t I n v e r s i o n T r i a d s : O p e n V o ic i ng 3 • 1 • 5

4 TT

^ f Y t r r F T

S e c o n d I n v e r s i o n T r i a d s : C lose P os i t i on 5 • 1 • 3

^ i ^ f ^ i ^ i i t e

S e c o n d I n v e r s i o n T r i a d s : O p e n V o i c i n g 5 • 3 • 1

4%^i l 3

J—— w is

J 2 m. 1

J. i

r- J • j

» r•

rw

r - T©® •r MI r ^ ( r

—

r

:

S u m m a r y : O p e n V o i c i n g T r i a d I n v e r s i o n s

i f f s ^ t »fT?r f r r ; f f r f y r r ' r r

s> 1 rr r r * r 1 r r p f r f r r f ' r f f fffIS

r



59

S e v e n t h C h o r d s o n t h e F H a r m o n i c M i n o r Sca l e

ii t *

F#m7

1

Amaj7Bm7

C# 7 Dmaj7 E#°7 F#m7

OL6

ff 1 iff-Lower Tetrachord-

-Upper Tetrachord -


F # m F# m*7Ff lm7G} t *7E# 0 7C#7 Bm Bm 7 G ^ 7 E#°7 C?*7

i * * f Y * T T T TT 1 r 2 f ' p f 1

Ftt m

7 :

S i

R o o t P o s i t i o n S e v e n t h C h o r d s : O p e n V o i c in g 1 • 5 • 7 • 3

1 3 1 1 1 2 l J i1 1 j 3 ^ J , 1 3 A 0 i

1 J . 2 J .

f r

r rr f f fF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o ic i n g 3 • 1 • 5 • 7

4 j „ i 4 1

'© fr r T r

3t> i s

Z2 32

r r rS e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i ci n g 5 • 1 • 3 • 7

4

2 31 4 0 1 ° ^ l j J f l 2 3 - i

1 11 1

fr

J

r



60

1


0 3 4 j _ 2 3 0 1 3 4 1_L 2 3 1 A 2 3 _ t j , 3 4 i J O j L i

g 1 —H = J I fmr-S

#f f f rx

2

Summary

F #m7

& C2

C2 j

-m* 1 3 g

G ^ 7

f ' i f T ' r r

2J2.

7-a j 9 1 1 J f 41 • 3- j

i

3 ^

Amaj7

C2

=5;

C 2 4- « 3 — " Bm7 J C 7

' i : I f f !? |ir ll'Tij I'J si iff j

f If T r H " ^ f 'If y l f T?

3JS„2

C#7

#C I 7 C4|

C6 C9

, 3 . in? 8T egf 1 r r 1 f

Dmaj7C7

E#°7

4 - * * i 4 |l f i f ? |HT j |Hj IIj 1 %

*r r 1 r "' r 7 ^ ' f f ^

4

rF #m7

f s f r

I ? i l l 1

C#7 F #m

5 -

r F T

Interlude XI II T h e Sanctuary (4)

Leisurely ^ 4 4

2. 4

C 7 iR. S. Pick

T 1 A U



61

Arranged by Richard Pick

Lento

L e s So upi rs

The SighsFrangois Campion

1680-1748

, J J i M ^ j 3.4 EEs44

T ~-9-:— -9-. I - S - V9-. 1

rr«rC2 C2

a — i

C2

* 9t

p4 i J 1

C7

i i i

T T T T Tr r

r r r r fr

c i 4344| * °

IN** m

f t fr r . f r -

r r •r

^ 4 1 ,J LJ J-I^-T-)J liJ41 «, 2

f r • r

— » — *J J 4 * i t J . J* 1-73 1 — m 1

ft1 j|J i l l J d *r

rr-. *

ST-u

• —

fCopyright © 1992 Editions Orphee, Columbus, OH, 43221




62

INDEXE M A J O R - C # M I N O R

N 9 T ITLES PAGE

1 E Major Scale - First Positi on - Cadence 63

2 E Major Scale - Extens ion - Scale Patterns 63

3 Triads on the E Maj or Scale 63


5 Root Posi tion Tri ads - Op en Posit ion 63

6 First Inv ers ion Tria ds - Close Posit ion 63

7 First Inv ers ion Tri ads - Op en Positi on 64

8 Second Inversion Triads - Close Posit ion 64

9 Second Inv ers ion Tria ds - Op en Posit ion 64

10 Summary - Tr i ad Inversi ons 64

11 INTER LUD E XIV: Emphatic Trifles 64

12 Seventh Cho rds on the E Maj or Scale 65

13 Prin cip al an d Secondary Seventh Chor ds 65

14 Root Posit ion Seventh Cho rds - Op en Posit ion 65

15 First Inv er si on Seven th Cho rds 65


17 Th i rd Inv ers ion Seventh Chor ds 66

18 Summary - Seventh Ch or d Inversi ons 66

19 INT ERL UDE XV: Sundrops 66

20 Res olu tio n Studies 67

21 Lower Ne ig hbo r Tria ds 67

22 MI NU ET I (J.S. Bach) 68

23 M I N U ET I I (J.S. Bach) 69

24 Natural Mi no r Scale

70

25 Harm onic Mi no r Scale 70

26 Melodic Mi no r Scale 70

27 Ha rmo nic Mi no r Extensi on 70

28 Melodi c Mi no r Extens ion 70

29 Natur al, Ha rmo ni c, and Melod ic Mi no r Triads 70

30 Root Position Minor Triads - Close Posi tio n 71

31 Root Position Mi no r Triads - Ope n Position 71

32 First Invers ion Mi no r Triads - Close Pos iti on 71

33 First Inve rsi on Mi no r Tria ds - Op en Posit ion 71

34 Second Inversion Minor Triads - Close Posi tion 71

35 Second Invers ion Mi no r Triads - Ope n Position 71

36 Summary 7137 Seventh Chords on the Ha rm on ic Mi no r Scale 72

38 Pri nci pal an d Secondary Sevenths 72

39 Root Posi tio n Sevenths 72

40 First Inv ers ion Sevenths 72


42 T hi r d Inve rsi on Sevenths 73

43 Summary - Seventh Chords 73

44 INTERL UDE XVI : Hyacinths 73

45 ALLEGRO: Homage to Villa-Lobos 74

46 INTE RLUD E XVI I : Poem 76



E Major - C # Minor

E M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

0 2 4 0 2 4 1 2 4 jjJI 2 4 0 2 4

C a d e n c e

Pr inc ipa l Chords

E A E B 7 E

I IV I4 V-7 I

E M a j o r S c a l e : S c a l e E x t e n s i o n w i t h T h r e e C o n j o i n e d P a t t e r n s

irt„ 0 1 3 0 i 3 i i

12 4 1 2 4 13 f l 1*

2 1 4 2 0 3 1

— H! (

_ J . - -

1

1

-J-J6 •

— H

E M a j o r S c a l e T r i a d s

E F # m G# m A B C# pi

4-

; 1 II in

L Lower Tetrachord-

IV ! V VI1 Upper Tetrac hord -


v n u 1


s

r f r rF i r s t

1 2 1 1 2 i i 3 l j

r = r ^ = = f T 5 = - 5 :

f t r 'f-[ n v e r s i o n T r i a d s : Cl c

r r>se Posi

C

f /t i o n 3 • 5 •

C5

WW

- u * 4*1 ' _ u . "

f f r1

1 C7 - 1 C 9 ^ , l j

8

r H=

ft

1 — J 1 —

U i rfl nil rn t=n

V 1

8

1 ir * ir r r r-1 f4 r r



64

F i r s t I n v e r s i o n T r i a d s : O p e n V o i ci n g 3 • 1 • 5

J m \ 0 I — J | W. 2 # . \0. J . | J — | * — 0 -}— j •

f f f t t r < ' 1 f * r 'f f 7 fS e c o n d I n v e r s i o n T r i a d s : C lose Pos i t i on 5 • 1 • 3

1 o i

1r r r r r r T I.f f f r

S e c o n d I n v e r s i o n T r i a d s : O p e n V o i c i n g 5 • 3 • 1

tf, M # . . | £ ft i f t rfrtf= g_ =]J IJ J IJ- *r Ir J- IJ J | ]

J= ^ E

©¬

S u m m a r y : O p e n V o i c i n g T r i a d I n v e r s i o n s

r

3 a :0 : ±Mt +0

f r ¥ f r ^ r t f r ' [ ' f F

4t4 :i j J u(4)

3

r r T T f T T f f f fAllegro

Interlude XIVr r

R. S. Pick„ 4 4

i i o 4

4 4 3 4 0 4

p i m i

4 0 4 4 » 41 * 04 1

3 2-#|«. 1 2

Har. 12

^=9r — - F

Co ri ht © 1992 Editions Or hee Columbus OH 43221International Co ri ht Secured Made in U SA Al lRi hts Reserved

rEmphatic Trif les



S e v e n t h C h o r d s o n t h e E M a j o r S c a l e

Emaj7 F# m7 G# m7

1

Amaj7

1

B7 C# m7 D P 7 Emaj 7

2

'17 U7 WILower Tetrachord-

IV7 V7 VI 7 VTI7

-Upper Tetra chord - -

17


E Emaj7 F# m F# m7 A Amaj7 D ^ 7 D#°7 B7

« — o -

13;

f f r r r r r r \ \ j -

R o o t Po s i t i on Se ve nt h C h o r d s : Ope n Vo ic ing 1 • 5 • 7 • 3

1 4 , 3 1 2 ! 3 2

^ (-#

f Tf f

3

r 7 r f

r rF i r s t I n v e r s i o n S ev e n t h C h o r d s : Op e n Vo i c i n g 3 • 1 • 5 • 7

1 3 4 2 l U 2 <_2 , i * i 2 2 J - H ,

vm r m , rTJ^# i c

fr rf f r r

i3

0 0 3 1

f r — r r r© T7"S e c o n d I n v e r s i o n S ev en t h C h o r d s : Op e n Vo i c i n g 5 • 1 • 3 • 7

3 14 2 a J L j J i 2 0 4 , M 3 j i l 2 2 j l J 1 2 J . 4

6 ;^ ' 1

P f r r — f

T r



66

T h i r d Inversion Seventh Chords: Open Vo i c ing 7 • 3 • 5 • 1

2j>0 C2

^ 2

—

J «

i i j l j . C9

J ^ J7732 3

--0 1

rJ

1 *

s -

5>

8 r

m

m 9

r

m

- V^ £

i - — * J • • *

(9) +

8r r — r

•

5 1 13 1

7

Emaj7

84

Summary: Seventh Chord Inversions on E Major Scale

J A I Pit m7

3.i dF# m7 ,'

4 » * r

4

2 ^

fG#m7

C44 _S_

it

rAmaj7

C2

1

i f

4

• 4 *

J:S:

3L*

r r T

B7

I f t i d ji iff it i?? £ 4f • ill ii ij? T #

rr

C#m7

C9

-0- 3

l a

DjK7

1 4

C#m7

4

»; Jig [[j. a i s :

]

T T rr 1 1 "*r r

! f TInterlude XV

r r 3 f f

C9 4 R. S. Pick

3ISC43 r 4 C3 c ,





67

R e s o l u t i o n S t u d i e s i n E : D # 0 7 - D # °7 - B ° 7 - B 7 + 5 - E

F o r m I T y p e 1: ® ® (S> ® S t r i n g s

20 p i

DU^m7D#°7B7B7+5 E simile

44- « -

1, 1 # i

V7.F o r m I T y p e 2: ® © © ... © S t r i n g s Impractical

l4

—=— A

1

4 H 1

i

r j J—"l - s - !

rv? •

s-

r r r r{ < ? -£

r r rr r'i5? 1

F o r m I I T y p e 1: © (D ® ® Str ings

^u^t^imii'i\ii - n i > I > 7?I ¥ - 111111"? 1 ? -

F o r m I I T y p e 2: © ® ® ... © S t r i ng s

1 0 03 3 3

f.f,ffT T ' T T T T T ' H T f?its»"jhig -pggg

TTT sr f

F o r m I I I T y p e 1: © © © © Str ings

r r T r r TT7T»r r 2 r r r ^ i 1 2 » ^

E M a j o r Sca l e T r i a d s w i t h L o w e r N e i g h b o r T o n e s * : O p e n V o i c in g 1 • 5 • 3

1 2 J C 2 2 a i C4 2 3

p= a t J 3 ^ = — d ^ f f ^ =

C4 , 1 1

*4f i t ^ i i i ^ i i ^ i i i ' U i M i i i ^ ' f f i ' ^ i i

r r f r "7"

*No te: Genera l Rule, lower nei gh bo r tones are chrom ati c - ascending.

Up pe r ne ig hbo r tones are diat onic - descending.



68

Arrangement by

Richard Pick

Minuet IFrom Partita III for Solo V io l in

r ' r ' f ? T 'Y""T r

Joh . Seb. Bach

3 4

1 2 1 3 2 1 y 2C2 2 3C2

2 4 1 3

J J Jtl

3 1 4 2 0 0 2

0 w 0

f ^ 9 ] X0 *^ 7

fC2

f 0 4 1C2

1 4 11

3 0

r ^0 ' 0 0 &

r r 1—rr

y 2C2 2 3

C22 4 3

I

r T fCopyright © 1992 Editions Orphee, Columbus, OH, 43221

International Copyright Secured. Made in U.S A . Al l Rights Reserved



69

Arrangement by

Richard Pick

Minuet I IC2

1

Joh. Seb. Bach

C2

® ~ 4 i 1 l .

rJ> m — J J ** = =

1 3 2 4 2 3 1 3 1 3

-4-2-

2 3

®C41

C7C2 3 4 J

C2

r r - i l

C2

C2

3I f ff

C2 , ,

S B

1 4 2 4 4 3 2 1 4 1

3V' i f r

I W in»- i rr

®

1A1 f f \i' V !>#«

r ' i f rC24 3 1 3 C2

ft CTjji|.4 II,j ffig

C72 4 3 4 1 3

I S

fC4 C2

* m m7J

m m

r CP ^

r1 2 4 2 4C6

C4 3 4 , 2 4 ' 2 4 / * 4 2 1C 2 4 C4 4 _ 4 3 4

i5

J3-ZZ # #

T I T4 - 9 -

8 3 r&C5 4 - 4 0

fed

3 1 4 3 1 3 V 3 3 0 C 2 I 3 2 3 4

r -r ' r t 7 T-®-

8 0 r r f TCopyright © 1992 Editions Orphee, Columbus, OH, 43221

International Copyright Secured. Made in U.S A. Al l Rights ReservedD.C. Minuet I



70

C # Minor - E MajorC * M i n o r S c a l e : N a t u r a l M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

/-># * /r- o Principal Cho rd CadenceC M i n o r S c a l e : Ha rm on i c Mi n o r - F i r s t Pos i t ion - No rm al F in ger ing c#m F#m C#m G#7 C#m

JWrj rrjn«Jii m l 1 \\M | j g fl^J IU»

tt= S#* T ^ 17^ ^ *~I IV 16/4 V - 7 I

C * M i n o r S c a l e : M e l o d i c M i n o r - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

itC M i n o r S c a l e : H a r m o n i c M i n o r E x t e n s i o n - T w o C o n j o i n e d S c a l e P a t t e r n s

i n a. A , A c> o i± ~

7 5 [^S

1 2 4 3 1 0 3 4

#3C # M i n o r S c a l e : M e l o d i c M i n o r E x t e n s i o n - F o u r C o n j o i n e d S c a l e P a t t e r n s

1 3 4 13 1 3

r _ _ - - - 2 ' 4 r - - - - - _ _

' 4 1iii«ft*tff L . f ^ f V f r l * 1 .' 3 3 1 4 3 1 1 2 <>4 2 0 2 4 1 3 4 4

r p r A - D F n T j r f i r ^ J J T J I J H I I I ii I I J I J «

T r i a d s : N a t u r a l , H a r m o n i c , a n d Me l od i c C M i n o r S c a l e s

pure C#m D#° E F#m Gj tm A B, Cjfc

||jd i# I t g a g

Harmonic"(E+) G# A B#,° C ^

T % — : l g 3ft2 g 31

44

4 r 4

! i n° m i v ; ! v v i vn iL Lower Tetrac hord - - J L --Upper Tetrachord - -

*D$° *EMelodic ( D # m ) ( E + )

v v i vn° i i

i — _ — _ J

A#° B#°

frp Inp ^ 4 ItiJ J II8 i l i 1 ! V vi ° vn° i '

i _ _J*Note: Altered Notes in the upper tetrachord are not normally applied to the lower tetrachords,



71


l 2 3 o A zj.

0 :


^ S i = i i J J #J- IJ J J J

/ ' ' 'i' r * n r

? r 1

T r1 L ® 1 1 1

F i r s t I n v e r s i o n T r i a d s : C lose Pos i t ion 3 • 5 • 1

1

1 2 1

/* J J • t i *

8 J r ' r r T 1 1 1

r ir 4=^


4 1 2 i 3 •>

i ¥fa

? 4

rT3 r'si f r

8 " i

— - J —

; f

4 1 2

m

; T

4 1 2

I. ft

Sec o n d !

1 C I

Iffl

•W—

r

n v e i

c:

•

• r

s i o n T r i a d s : C I

2 1

• r

ose P(

r

Dsitior15 • 1

#

' r• 3

f ¥

•

• r

ffrrf

^ + \

f f

f rv

r4 r r r

S e c o n d I n v e r s i o n T r i a d s : O p e n V o ic i ng 5 • 3 • 1

r w I JJ i J - i f e1 f t f f f

4

r rS u m m a r y : C l o s e P o s i t i o n T r i a d s - C H a r m o n i c M i n o r S ca l e



72

Seventh Chords on the C* Harmoni c Min or Scale

Amaj7 B#°7 C# mlC#m7 D#^7 Emaj7 Fj fm 7 G i 7

7 3f

i i

17 n 7 ffl7 IV7 1 ' V7 VI 7 VTI 7 Im7

Tow er Tetrachord _ _ _ 1 i Upper Tetrac hord- - •

Principal and Secondary Seventh Chords

C#m C#m7 C#m7D#*7B#°7 G# 7 F #m F j l m 7 B$°7 G # 7

I t A / i l g a , As 4,.c 2c • lg=—g J — s '-

Root Position Seventh Chords: Open Voicing 1 • 5 • 7 • 3

t i i U 1 32 J . 2 4 , 3 l i 1 3 j J 1 4 4 1 3 2 i

^ l - ^ +9- HE r r T » r

r

1

r ®-

1 3 2 4 1 4 4 1 4 3 2

f f

r=r —r rFirst Inversion Seventh Chords: Open Voicing 3 • 1 • 5 • 7

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

4 „ ! 3 2 l ^ L - S 2 ^ 4 1

f f T T

F f f f

T 0 0 1 3

r — T f f r rSecond Inversion Seventh Chords: Open Voicing 5 • 1 • 3 • 7

f r

I 4 2 3 1 4 2 3 1 4 i » J r i 1



73

2 U - J , 2 3

Th i rd Inversion Seventh Chords: Open Vo i c ing 7 • 3 • 5 • 1

1 i i 2 l i l 1 J - i i i

2

IA

10-

0 • J J

n*— J r

8w 1*— i i

1

t 0

—# 1»0

0

I r

Summary: Seventh Chords in C Minor

C9

Interlude XVIAndantino

R. S. Pick

poco rit.





74

AllegroH o m a g e to He it or Vi l la-Lo bos

Richard Pick

i - 4 > 1 3 1 4 3 1 4 C2S3=;

L 2 i

f*TTTfl j- i a

ize'JJJJI ^f

m

U

<

©

ftpL2 c5

-*ff-—- w 1 3 1

rrrfy.iTr

4

8

r <:= 3

r i

10

r"rf4 3 2 L 4

i o C 4 f -fm i f

1 3 1 2

0 m ,M0 M -i

P 1

Copyright © 1992 Editions Orphee, Columbus, OH, 43221International Copyright Secured. Made in U.SA. Al l Rights Reserved



C2 C4 | C7 |

8

- — }

fr-

f

I ' d ' 1 i

s f ' ?L=a ?L£J '4X1 '

r

U , C4 J— J |3 ~ J 1P 5 jsLrrrrr - J ^

r

i J °l i :

r

i 2 f i J—4— l — i' • i i* 0 0 00

8 r4

C2

f

8 r i f f .

- J -

.£ r T

BJffil ^ f 1 ? % f i f i i ll

r

Andante

T

C2

f

Interlude XVI4 C2

J ? i . j m i»n

^ R. S. P ick

ii J J 1 Lj \ H DP -llP

c

* 1 * "

expre

f f f4

f

a f J J = 0 1 -]

T ft" ^ r

C2 C 4 4

- - i i n jj J jJ#J^ i j i t

3r 'n4 ^P8

— 4 — ;-

ttZZB

Ur ^l

t tt r if T l l iSJ f 1

12_ ^

13 l j g ~ ^

— n ~ t ^ ^ = = T 1

'< fCopyright © 1992 Editions Orphee, Columbus, OH, 43221 ...Poem...




77

INDEXB M A J O R - G # M I N O R

N Q T I TLE S PAGE

1 B Majo r Scale - First Positi on - Cadence 782 B Maj or Scale - Exten sion - Scale Patt erns 78

3 Tri ads on the B Maj or Scale 78


5 Root Posi tion Tri ads - Op en Posi tion 78

6 First Inv ers ion Tri ads - Close Pos iti on 78

7 First Inve rsi on Tri ads - Op en Posit ion 78

8 Second Inversion Triads - Close Posi tion 79

9 Second Inver sion Triads - Op en Position 79

10 Summa ry - Tr i ad Inversions 79

11 INTERLUDE XVI I I : The Pavilion , 79

12 Seventh Cho rds o n the B Majo r Scale 80

13 Pri nci pal an d Secondary Seventh Chor ds 8014 Root Posi tion Seventh Chor ds - Op en Posit ion 80



17 T hi r d Inver sio n Seventh Chords 81

18 Summa ry - Seventh Ch or d Inversions 81

19 INT ERL UDE XI X: On The Carousel 81

20 Res olut ion Studies 82

21 Summa ry - Reso lut ion Studies 82

22 IN TER LUD E XX : The Blue Bicycle 82

23 PRELUDE: Lake Reflections at Twilight 83

24 Natura l Mi no r Scale - Firs t Pos it ion 84

25 Harmo nic Min or Scale - Fir st Pos it ion 84

26 Melodi c Mi no r Scale - First Posit ion 84

27 Har mon ic Mi no r Extension 84

28 Melo dic Mi no r Exten sion 84

29 Mi no r Triad s 84

30 Root Position Minor Triads - Close Posi tion 85

31 Root Positi on Mi no r Triads - Op en Position 85

32 First Inver sion Mi no r Triads - Close Posi ti on 85

33 First Inv ers ion Mi no r Tri ads - Op en Posit ion 85

34 Second Inversion Mi no r Triads - Close Posi ti on 85

35 Second Invers ion Mi no r Triads - Op en Position 85

36 Summar y 85

37 Seventh Chor ds on the Ha rmo ni c Mi no r Scale 86


39 Root Position Sevenths : 86

40 First Inve rs io n Sevenths 86


42 T h i r d Inv ers ion Sevenths 87

43 Summar y - Seventh Cho rds 87

44 INTER LUDE XX I : Piece of Eight 87

45 I M P R O M P T U : On A Rainy Day 88



78

B Major - G # Minor

B M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n gA u t h e n t i c C a d e n c e

B E B F t - 7 B

pfl a t r i a l %qj 3 a III I 11 I I inai» isa n ' f l jrrfr

r t ri rv 14 v—7 1

B M a j o r S c a l e : S c a l e E x t e n s i o n - T w o C o n j o i n e d S c a l e P a t t e r n s

3" " 4 1

B a tm

T r i a d s o n t h e B M a j o r S ca l e

Dflm E F^ G#m

±

A f ° B

0 I 1 ^

-4-i3K 31

4 f - ^

I I 1 ! ; '-Lower Tetrachord- 1 Upper Tetrachord-


4 3 1 4 2 1 4 2 j , 2 l i 3 ^jA 2 , L ?

7 ^ r " ^ r r r • ' ' ' ' ' r r r f f

1

R o o t P o s i t i o n T r i a d s : O p e n V o i c i ng 1 • 5 • 3

4 - s i , 3 i

^ — ^

f f r f r r r r ?F i r s t I n v e r s i o n T r i a d s : C lose Pos i t ion 3 • 5 • 1

r r f f f r T I r f 1 f f 1 f T Tr 1

r r 1 1F i r s t I n v e r s i o n T r i a d s : O p e n V o i ci n g 3 • 1 • 5

4%w^

A 1 4 4

-if-. fr-

S r ™ P

8• r 1 ±f=t= =t=N



79

Second Inversion Triads: C lose Po si ti on 5 • 1 • 3

3 S ' W> '0 P$ 1, Aft J 1 ^ 1 4 ^

a, m m J 1

£

Second Inversion Triads: Open Voic ing 5 • 3 • 1

y d a ^ ^^ r f l i-pj- II

g> " ^ H

f T _

^ ± z ^ A — i

k r r r r© ®

C j tm D j t m

—J j m— |l— l l * ~

F 9W W

r T' r " r r " ^

Summary

E F# 1 G|t m

- l - i ! — • — 1 i l l « » i l * ^

r f f f

r - ' i Jf 1 f '

7 ^ r r'T r r r r ' f r r '{f =Nr r 1 1 1 J

K fli ..^.j g .

1 r r p1 r r r1 r ^

0-

*4Slow Steady Rhythm

Interlude XVIIIC4

R. S. Pick

4«1 :

33i i _ 1 i \5t& = ± ± 9

>t\r^rj!fzr r r r—" v —^ "~— " simile r r r rr r r r

C4 1.

I S

C6 C2

4 ^C2

m -4-^

f r f r r r t r r T r r rr r r r

C4 C7

if:

3£

r Kplay the bass voice throughout with a "semi-staccato" touch, i.e. Each quarter-note receiving 2/3 of the beat.

The right thumb dampens the string with a delayed action, an effect characteristic of "Baroque" and "swing Jazz:

styles of bass playing.Copyright © 1992 Editions Orphee, Columbus, OH, 43221

International Copyright Secured. Made in U.S A . Al l Rights Reserved

8

*Noter r f r r r T n T h e Pav i l ion



0

Bmaj'7 C$ml

S e v e n t h C h o r d s o n t h e B M a j o r Sca l e

F t 7D#m7 Emaj7

1

G#m7

1

A f 7

1

Bmaj7

f' 17 n7 ffl7-Lower Tetrachord

IV7 ;V7 VI7 V l f 7L Upper Tet rachord - - .

17


B Bmaj7 c t m C#m7 E Emaj7 A|*7 A#°7 F t 7 F#7-5 B

p i4tS

P=3 2s 4-^22

= — 1 $ ~ T ? — t f - * 1 * — i sr T T TR o o t P o s i t i o n S ev en t h C h o r d s : Op e n Vo i c i n g 1 • 5 • 7 • 3

1 3

3 j 2 3

fr ~ f — L — ®

P r

r - r — r r rF i r s t I n v e r s i o n S e v e n t h C h o r d s : Op e n Vo i c i n g 3 • 7 • 1 • 5

1 3 0 2 i 3 1 11 2 2_ 3

pr r

i l — »

T TP

-<9

Ef f 32r r

S e c o n d I n v e r s i o n S e v e n t h C h o r d s : Op e n Vo i c i n g 5 • 3 • 1 • 7

2 3 I i 2 3 1 * 2 3 U 2 3i.i i " < I *

0 i I ! U

r

44ar r V r 1 f 77 r



81

Th i r d Inversion Seventh Chords: Open Vo i c ing 7 • 3 • 5 • 1

3 4

1 1 3 L i 2 3.12 0 0 u U 2 J L X —

17:

f f" r r

18i

Bmaj7


C#m7

m*m r*

W r

C9

i lD#m7 Emaj7

1 | 3j& 1 -

32

a

4_<5t1

1

f tF# 7

f T

i4jS.4 *

Ff T f T 2-r- i r 1

A#^7 J 4 * - 2^: i

:«^-£2 — A - „ ?

T ^Bmaj7 G# m7 ^

f T

F t 7 B

r r 'T IIr r4 « * 2

r r r r T TModerate

r fInterlude XIX R. S. Pick

Second time slower and slower to the end molto rit.... O n the C aro use l. .





82

R e s o l u t i o n S t u d i e s i n B M a j o r

F o r m I T y p e 1: ® © ® ® S t r i n g s

A ^ 7 A t f ° 7 F # 7 F#7-5 B

tins i ihi jr i r i j » f >iif i ' ? > y a y •**]

r T ' r " r T " r' f ' f T T

F o r m I T y p e 2: ® © @ ... © S t r i n g s

4i4.434 .•'

F o r m I I T y p e 1: © © ® © S t r i n g s

, 3 J 3, •4^5•ffr^f} I T I H * » ; D « * i $ i s , i I3^J l i s ; a ; u g 4 ^ ; n a

f f f T T f f f T T W T

4

F o r m I I T y p e 2: © © ® . .. © S t r i n g s

r T 'T< r TImpract ica l series

- J i J | C j n J i hiJj J i?JiiJ , i . J i l J » ; i | i j | | i j ^ | l ^ # - r ^ :4fe


3 I 3

Impract ica l series

S u m m a r y : I n v e r s i o n s o f t h e A * 0 7

Type 1

—r** —h

2TS1

A t ° 7 F # 7 E

• J /-

8 3^i

* a T y p e

" T2

I+i

9 21- T

3

=^=

1 —1

r rH I i i d i I j

A#°7 F t 7 F t 7-5 B

, — \

— \

8 0"jP• 21^ £: 3i»

—-aJ

r 2= T 'T T 1

— « — « -

' r f

• — # — c

r r r r r t — \

Interlude XX D _ _.,Allegretto R - s - P l c k

01 01 0 1 0 1 01 01 oi 0 1 01 01 01 01 Q o

m E M M i rami PIR3i RlPii4n



PreludeAllegretto

R. S. Pick

2 4 2 "fe>.C4

f T r r

r r 1 r f J t f rr — f f —r

f i l l , , ^ M ^ ^r f j r ?

f

f poco rit.

„ 9 , 2 1 2n 14 10 13 1 •

pocomeno 2 l 2 0 1 2 10 2 1 2 p - ^ ° _ B3B| B E R E S B O S I

3 4 3

VI 2 4 1 34 1,4^.O 4-1 2 4 1

a piacere

a tempo (

1 NJ*i«Bpg 11 " r Y— - r r

a tempo

r r * MJJJJJIr

r ' r r. 1

poco rz/.

r r L f ^ 1

C21-31. 2 - 2 3

r r *—m-

poco a poco rail.

r m *Lake Refle ctions at Twi li ght

Copyright © 1992 Editions Orphee, Columbus, OH , 432211 r ^ m ^ t eomr<. l ~\Ant\r> in TT <s A All WiorhK R wrveH



84

G f f Minor - B MajorG # M i n o r S c a l e : M o d a l M i n o r S ca l e - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

»j*V njijTJJi^crxriCLTJ-JTJJI j^^m m

G* M i n o r S ca l e :

H a r m o n i c M i n o r S ca l e - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g


G#m C#m G#m Dp ^

* J i j J J f l J | c r f f™ [CQ- JJI rrnrm££•-1

In

3=55;

— - TT" I

G # M i n o r S c a l e : M e l o d i c M i n o r S c a l e - F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

G # M i n o r S c a l e : H a r m o n i c M i n o r S c a l e E x t e n s i o n - T h r e e C o n j o i n e d S c a l e P a t t e r n s

7;

1 34 13 4 2 |3

® ®

1 &

L - -

G * M i n o r S c a l e : M e l o d i c M i n o r S c a l e E x t e n s i o n - S i x C o n j o i n e d S c a l e P a t t e r n s

^ ~ ^ >r ~ ~o 1 . 2^ * i f ^^r * "ffajfffag * 4 2 i '

1 3 4 18 1 ^ 1 4 ^ 4 1 ^ 1 ^ggppp^pppp^^. 3 14 3 4^2 1 4 2 1J. a g i a i a : * > | 4 1 J '

4 jjJJffl1

^.iux-ji s

u - "*

T r i a d s o n t h e G # M i n o r N a t u r a l , H a r m o n i c , a n d M e l o d i c S ca l e s

N a t u r a l G * m A * ° B C t tm D ( t m E. FJt Gl| m H a r m o n i a D * E P * ° G « m

i ' » .. /-\ — . . ! T Ivm->

9- I f i ty If r*f

i n° m r v- - - Lowe r Tetrachord-

, V V I VI I I :L- -Upper Tetrachord--- 1

• V VI VI I I

Melodic D# E#° F*°Gj| m

i — h - e -

f f V V l ° VH°I



85

R o o t P o s i t i o n T r i a d s : G # H a r m o n i c M i n o r - C l o s e P o s i t i o n 1 • 3 • 5

4 3 14

•TJ11 \)\l)\)3fPlW- 1 J? fll iMl njrQI rrj i II0 , 21

r ir r If I ' 1 1 I 1 1 H i i f r ' r r

;


T r r f t T f=5Q

F rF i r s t I n v e r s i o n T r i a d s : C lose Pos i t ion 3 • 5 • 1


foil W i \P2 r&d ' r f r i - (Qrft

4 . 1

^ 1 ^ Ifl P3

J:

i n-fY Y T-'rY Yf fS e c o n d I n v e r s i o n T r i a d s : C lose P os i t i on 5 * 1 * 3

T r r

-

r r r r TS e c o n d I n v e r s i o n T r i a d s : O p e n V oi c in g 5 * 3 * 1

fir)M M

- 1i•

- x J — j — * i

-#s Wi

1 r

P r

i

8 1

w

r-- r M J 2 p - - i i T r - r - r r

-

S u m m a r y : C l o s e P o s i t i o n T r i a d s - G H a r m o n i c M i n o r Sca l e

i iJiJ i.jijjj lijJl'j i J?'jjs i { t-

r



86

S e v e n t h C h o r d s o n t h e H a r m o n i c M i n o r Sca l e

G#m7

1.

A ^ 7 Bmaj7

1

0 U 7 D#7 Emaj7 px°7 G#m7

1

4 ^3X2

,' 17 n^7 ffl7

L Lower Tet rac hor d-- -

IV7VI7 vn°7

•Upper Tetrachord

17

J±P r i n c i p a l a n d S e c o n d a r y S e v e n t h C h o r d s i n G M i n o r

G#mG#m (maj7 ) A ^ 7 Cflm C#m7 P*-°7

*n 4ft

Djt.7

4D#7 D#7-5

2 ^ ^

G#m

X L

R o o t P o s i t i o n S e v e n t h C h o r d s : O p e n V o i c i n g 1 • 5 • 7 • 3

I B J ^ H J J , , 3 ^ , 3 ^ ! ^ 1 ^ 4 J

x J 2 4

9:

f — rF f r r

4ft 1«

T r r r r fF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c i n g 3 • 7 • 1 • 5

, 2 4 4 1 JrT\ 1

2 3

1 4 „ 4 1 3 1 3 JL 1 i 1

4 - 42

3 11 2 4 1 ^ 1 3 2 - *3J5.

fj r 'f ^F T T r

i i

1

f TS e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c i n g 5 • 1 • 3 • 7

2 0

F f



87

Th i r d Inversion Seventh Chords: O p e n V o i c i n g 7 • 3 • 5 • 1

421

2

r r » — r

3 1 1 3 4l 2 3 4 i i

tt¥r2 4 L i , ,

2 0 0 4

. i%

8

r

- f T ^

- J L

—

—m- '

_ . J

r

^ — =ST

— x J - 1

r

'J

\

¥^8

• * M

0

1» *x m

-0-«

ri— -. .

-T\

Summary

G#m7C4

A f 74-*- 3 '

2-S^11 =

>43 i

j 4 ; =j=3

r ; r l x r

3 = 3r r H3EIS

C#m7

44Bmaj7

C4

\9 3 _

4.

7 T r 1 1 'ff if f Y T

C9

3-S-

i 53Ht 4> -

2 f 3 r

2*

C8 C l l

_^ { Emaj7

f I gMgy

4^2.

=34— m+ art

F*°7

G#m7i4_

^ i f " i f

C4 D#7

A ' 4 14#l IK<—

: ! 3. i

Gflm

* f r - + r ' T T ^3 * » #

Brightly

2 3 1 V 1 , 3 1 « T 3 1 * „ 0

Interlude XX I4 C2 3 1 4

44 |J

fR. S. Pick

2 2 1 , o 4 C —

o T i 3 rCopyr ight © 1992 Editions Orphee, Columbus, OH , 43221

w~rr>dHr>n:i1 r.nnvriirht Secured. Made in U.SA. A ll Rights ReservedPiece of Eight .



8

Impromptu

Moderately

4 1 C6 3

T — ^ - f r

R. S. Pick

8 =^ ^ T T2

m

2

0 _ i o

E | I S ^

ft

®

Andantino

C I C4

poco rit.

C4

4L

C9C6 C9 4 J , 41 4 - I 4|

j 3 • , ) . jB3P

Tr t

ii1 ^ , c j ^ , c l a i

i 1 ' i l l {-2-

expressive

C9 1 o 1rrT3-4rm

r T T

a tempo i

poco rit.

J . J _ J J . ^ . ^i i

•ST

i i I ^ 1

H A r ^ J 3 i j

; 2-m ST

rail, al fine


International Copyright Secured. Made in U.SA. A ll Rights ReservedO n a Rainy Day



89

INDEXF # M A J O R - D # M I N O R

N 2

T I T LE S PAGE

1 F* Majo r Scale - First Position - Cadence 90

2 F* Maj or Scale - Exten sion - Scale Patterns 90

3 Tri ads on the F* Maj or Scale 90


5 Root Positi on Tria ds - Op en Position 90

6 First Inversion Triads - Close Posit ion 90

7 First Inver sion Tria ds - Op en Position 91

8 Second Inve rsion Triads - Close Posit ion 91

9 Second Inve rsio n Triad s - Op en Position 91

10 Summary 91

11 INTERLUDE X X I I : The Arboretum in Autumn 91

12 Seventh Chord s on the F* Maj or Scale 92

13 Pri nc ip al an d Secondary Seventh Chor ds 92

14 Root Posi tio n Seventh Chor ds - Op en Posit ion 92

15 First Inv ers ion Seventh Cho rds - Op en Positi on 92

16 Second Inv ers ion Seventh Chor ds - Op en Posit ion 92

17 T h i r d Inv ers ion Seventh Chor ds - Op en Positi on 93

18 T h i r d Inve rsio n Seventh Chords - con ti nue d 93

19 Su mma ry 93

20 Resolu tio n Studies 94

21 I N T E R LU DE X X I I I : August Nocturne 94

22 I M P R O V I S A T I O N 95

23 Natura l Mi no r Scale - First Posit ion 96

24 Harm oni c Mi no r Scale - First Position - Cadence 96

25 Melodic Mi no r Scale - First Positi on 96

26 Ha rmo ni c Mi no r Extension 96

27 Mel odic Mi no r Exten sion 96

28 Mi no r Tria ds 96

29 Root Position Minor Triads - Close Positi on 97

30 Root Position Mi no r Triads - Op en Position 97

31 First Inversion Minor Triads - Close Positi on 97

32 First Inve rsio n Mi no r Triads - Op en Position 97


34 Second Inver sion Mi no r Triads - Ope n Position 97

35 Summa ry 97

36 Seventh Chor ds on the Ha rm on ic Mi no r Scale 98

37 Pri nc ip al an d Secondary Sevenths 98

38 Root Pos iti on Sevenths 98

39 First Inv ers ion Sevenths 98


41 Th i rd Inv ers ion Sevenths 99

42 Sum mar y - Seventh Cho rds 99

43 IN TE RL UD E XXFV: October Song 99

44 PRELUDE: Spearfish Canyon 100



90

F* Major - D # Minor

F * M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

2 4 1 2 4 1 3 4 1 ^ H 4 1 j m „3 i i . , 2 4


F# B F# q j -7 F#

l - S - l i S . 3_«. 1 J

1 cJ 2 ^ = 2 & 3f=j>• •4 ^ I I f :

1 0 ii

F * M a j o r S c a l e E x t e n s i o n w i t h T h r e e C o n j o i n e d P a t t e r n s

1 ? 4

i rv 1 v - 7 1

2 4 1 2 4 1 3 ! 4 1 J 4 1 3 1 21 ^ 1 2 4 * F - -r-

2 1 4 - _

®

m

T r i a d s o n t h e F * M a j o r S c a l e

A# m B C# D f m

1 J 1

E#° F#

1 .

4-

L Lower Tet rachord — - J I Upper Tetrachord-


I \ f_

gfr, JSP, 1P1J

R o o t P o s i t i o n T r i ad s : Op en Vo i c in g 1 • 5 • 3

V i V f M ' r M 'rfe, f M rflrA rflrfl44 1 3

® •1* f t * ff

1 \ S

't i 'rS ' r f i f f i ' f l i t [ M nitr r 1 f f i f }• 11


^ J J I ^ y i ^7= 1 ^ ^ J I ^ i f f i 11



91

d J 0 - d. 0- — r — — 1 f r 0. d- ~ J 0

• r - i r r 11 1 i 1 1 i 1 1 i 1 i i r r i g=

F i r s t I n v e r s i o n T r i ad s : Op en Vo i c ing 3 • 1 • 5

MM* Vdnd r£rH nam o j;

S e c o n d I n v e r s i o n T r i a d s : C lose Position 5 • 1 • 3

ff if- TIP r

r1

f f rS e c o n d I n v e r s i o n T r i ad s : Op en Vo i c ing 5 • 3 • 1

flrft 3

rd3

rp Wg —20-. r^ra nana mr- r' r r d ah

fr r rS u m m a r y : O p e n V o i c i n g T r i a d I n v e r s i o n s

i i

i p f T T f f l r T T f T

r r ' •* r r 1 r r f ' r f f rr

i r r r r f r r f r r f f

Interlude XXII R. S. Pick

Andante

Mito-T c J L I ' > I^ ^ J ^ J N . , , . , " , . i , 'nt

rrrr •C4 4 _ 4

s

r r r r T

i 3 ^

=M=f

1 rrfr rrrr rr 312

« r r r r s «3*11

- 9 - — >

f f]r r f r f r r ^ r

11


International Copyright Secured. Made i n U.S A. Al l Rights Reserved The A r b o r e t u m i n A u t u m n



92

S e v e n t h C h o r d s : M a j o r S c a l e

Mm

F#maj7 G#m7 A# m7 Bmaj7

2g

C#7 D#m7 E#*7 F#maj7

1

fL Lower Tetracho rd-

1 47>

1

4 r 4|

-Upper Tetrachord


F# F#maj7 G#m G# m7 B Bmaj7 r # 7 E#°7 C#7

Hi ± d LA 4J5 *£k i _ | . I d * rin.

Ft

4S liS

r r T 1 f T »f f.tp *r n

R o o t P o s i t i on S e v e n th C h o r d s : O p e n V o i c in g 1 • 5 • 7 • 3

4 . a l 1 , 3 2 1

*4 1 4 2 J L 1 3 1 * i 3 l2 . 3 2 1 1 3 LJi 1 3

• 3 C

4 F 1

r

Hif r

r r r rF i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 3 • 1 • 5 • 7

4 2 2 ! j 3 2 i 4 i

f

2 1 « -=13 J . 2 l j 1 <2, 2 l i J lr m , 3 rrn 2ff£ ra^

r r r r T

7 1 T

r r r r fS e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c in g 5 • 1 • 3 • 7

3 1 2- 2 ' 1 - I 2

1 4 j j ! 4 t i l 2 2 3 l l 1 2 l i

_L4±-

©f c

— « — ~ 0 — m ~ —

f t 7 r1

^^^^^ _

0 2_4

3 =

r



94

R e s o l u t i o n S t u d i e s - F * M a j o r : E * 0 7 - E * °7 - C * 7 - C * 7-5 - F *

F o r m I T y p e 1: G> © ® <S) S t r i n g s

r f -r r '»r*r'I7"T r 1 r?r l ; Fr r 'Mr

4 ^ -2^5"

0- I B

F o r m I T y p e 2 : ® ® © . . . © S t r i n g s

f f r r f T Ir T T r r r °r r < ' r r ^ rF o r m I I T y p e 1: ® © ® ® S t r i n g s

44 4 s 44,

5ZZ

F o r m I I T y p e 2: © © ® . . . © S t r i n g s


H i

Moderate

C2

Interlude XX II IC4 C2 R. S. Pick

:

a tempo

gbg #V • •

2M1

r

4

f r r1 , C l l

3

2

<41 ^cl ^a-

T f r molto rit. r—rCopyright © 1992 Editions Orphee, Columbus, OH, 43221 ... Au gu st N o ct u rn e




95

ImprovisationVivace

Recitando

ft.)- kJD.S.

A r i r J n_ci t i f lt i t § i » 1 El f I

3 ^

C3

Copyright © 1992 Editions Orphee, Columbus, OH, 43221International Copyright Secured. Made in U.S A. Al l Rights Reserved



96

D # Minor - F* Major

D * P u r e M i n o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

1 3 4 1 3 4 2 4 1 2 *flaU 1 3 4 1 3 4 2 4 1 2 i ^

8 V ^ - ^ J4- a

C a d e n c e

D # H a r m o n i c M i n o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g D# m Gtfm D# m Ajt-7 D# m

4$^

W T'Ti n q v - 7 1

D * M e l o d i c M i n o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

r " T 3 4 2 . A 2

i t

D H a r m o n i c M i n o r S c a l e E x t e n s i o n s

1 2 0 2 1 4 2 1

® ® © ®

D # M e l o d i c M i n o r S c a l e E x t e n s i o n s

i * l 3 ! 1 4 3 J^3 1 4 2 1 421

p - - _

I SP

pure

T r i a d s o n t h e D * M i n o r Sca l e

T h r e e F o r m s

Ftf Gj lm A | m B cjt D<

1 11 I 1,

mHarmonic

A# B C* ° D#m

2% 4i 5*5=3; 4 * H 4 g S ^ g f^ 0 — H 3 * 3 P 3 — ^ 3 ^ 33P 3

4 P

; i n ° m rv1 — L o w e r Tetrachord

V VI VU I

--Upper Tetrachord -

Melodic Ai t B* ° c

* °D

*m D

«m c

» B Aj tm

if



A L

R o o t P o s i t i o n T r i a d s : D H a r m o n i c M i n o r - C lose Position 1 • 3 • 5

9 i

2J.3 u IT

J^-95i* 03f<fl) * ft i

y r ' 1

'"' r ' i rR o o t P o s i t i o n T r i a d s : O p e n Vo ic in g 1 • 5 • 3

r rti Vftffl l M CM rgn rfria rflmi

r 1 r r 1 r


"

i l 2 3 112S l l 3 l i 3 j

3 "^40-

r r-

9

r- r

2 ^ vffiP 2nd2no. 2 t itt

r£rU1

r pF i r s t I n v e r s i o n T r i a d s : O p e n Vo ic i ng 3 • 1 • 5

2 a.ia vava. ^f f l 1 J 2x J 19 \~-* —id I

j f j f ^ t 1 1 ' ^ ^ t fS e c o n d I n v e r s i o n T r i a d s : C lose Pos i t ion 5 * 1 * 3

J , i i i 1 J 1

1

S e c o n d I n v e r s i o n T r i a d s : O p e n V oi c in g 5 * 3 * 1

j , 3 ^ rti 3 r M 'rfe fgrj 'ti'rti yd ^ <Mr r 1 r r®

f r f r r-S u m m a r y : O p e n V o i c i n g T r i a d s o n D * M i n o r Sca l e



98

S e v e n t h C h o r d s o n the D * H a r m o n i c M i n o r S c a l e

D#m7 E#*7 F#maj7 G#m7

1 I I ,

A#7 Bmaj7

1.

C f 7 D#ro7

W T O =3=

; 17 i A ffl7 IV 7 ; ] V7 VI 7 VI I 7 17

i Lower Tetrachord 1 1 Upper Tetrac hord

Dtfm " * l u D#m7 EfK7 C*°7 A|7 G f m G|m7 A|7 Af7-5 A f 7 D f m ( m a j 7 ) D | m 7 A|7A|7-5 Dfm(maj7)D(fm

I ( m a j 7 ) 1 I I I d 4 J C 4 C 3 I C i l C 6 l " C 6 I


Bmaj7+5 D j j r

R o o t P o s i t i o n S e v e n t h C h o r d s : Op en Vo i c i n g 1 • 5 • 3 • 7

14 2 3 i 2 _ j 4

»

1 4 j 3

f l ]

J 1 — — J - * J -

H21

3 2 J

J - * — ai

i t&

1

*

f \3 2 4

i •

V

?

J

r — t

— » —

9 r= = M =

• - r.' ni

8

I 1 r r

=*f — r—

Jl 1

t r

F i r s t I n v e r s i o n S e v e n t h C h o r d s : Op en Vo i c i n g 3 • 7 • 1 • 5

2 4 1 j . 2 41 3 2 j j J 2 J ^ 2 3

f T T r r F' L b ®f F

z;

rS e c o n d I n v e r s i o n S e v e n t h C h o r d s : Op en Vo i c i n g 5 • 1 • 3 • 7

4 _ , i _ i 1 * i i • - i i



99

Th i rd Inversion Seventh Chords: Op en Vo i c i n g 7 • 3 • 5 • 1

2 31 4 , 3 l _ i 2 3 _ l J , 1 i - i - i 1

1 1 2 3 1 A 2 AC l l

41 — -

©

x9

3 1 2 0r


J -<2¬4-4- ; ? ^

U2.

2-

F#maj7

i i 2±- G#m7

f T

A#7

f T

i4x« -

Bmaj7 ,

l«j j j M ; i Ijll

4_C_

f f» 2 i =j=g

r T i

e 7

r 2^

r TDjfm7

1 4=Ox31

Interlude XXIVAndante cantabile

C2 CI

C6

C2 C I C2

3 :

Pp oco nYa

expressive

a tempo

1

C2


International Copyright Secured. Made in U.S A. Al l Rights Reserved ... Oc to be r Song



0

Prelude

Moderato 4 4

R. S. Pick

f 1 c

4 4 ^ 3

in*Vi ^ n fi _ _ 1 ^ n 'r j r i C1

U p " , ? r

1 2

f 1 T f r rail.

a tempo1 3 2 1 4 2 1 4 3 C 4

i\rmn 1 m2 1 3 4 2 1 3

4 - 4

7 i» «p•x-4 -4-^ *

r r r* — r ^ r x w — *

* — #

C4 3

Mat

4 1

r r r

1 4 - 4 p -2 «

f

C62

~T • % •

7 r 8

,* « 7 p3 P

r r

C9

f

2 T I ~~0

g * •

3 CA. meno

— J — - •? *

1--9

~ ? — ~ — * — ^

"57"

l I ' a f i f

ra//„

C4

41 33 4 0

# — # « # • — - # •# = # « 0-

* r f r r «r «r if•r T . i f . f

molto rit.

a tempo

C2

H i

C4 C6 _ 3 2

n J n o i J i ; , 0 0r , u < t r a—'4 r ® r ^ < r *





101

C7 C4

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

r ~f' rail.

m

rit.

a tempo

C2

1

rl 2 C4 » C6 3 2

C6

c m

C 7 C4

i t f i i y n , i r n . i r |s r j . i t ^

3 4 2 4 1 3 4 J j - 2 4 1

7?~ ^ 2 — 4

a tempo C4 C6

l i t e *i 3 i c i 2 4 3

2f 1 r

a tempo 3

C4 4 4 3 C4C9

r r r .molto rit.

...Spearfish Canyon.



02

INDEXC # M A J O R - A # M I N O R

T IT LE S PAGE

C Major Scale - First Position - Cadence 103

C # Major Scale - Extens ion - Scale Patt erns 103

Tria ds on the C # Major Scale 103

Root Position Triads - Close Pos it ion 103

Root Posi tion Tri ads - Op en Posit ion 103

First Inversion Triads - Close Pos iti on 103

First Inve rsi on Tri ads - Op en Posit ion 103

Second Inversion Triads - Close Pos iti on 104

Second Inv ers ion Tri ads - Op en Positi on 104

Sum mar y 104

INTERL UDE XXV: Day's End 104

Seventh Chor ds on the C* Maj or Scale 105 Pri nci pal an d Secondary Seventh Cho rds 105

Root Posi tion Seventh Chor ds - Op en Posit ion 105

First Inve rsi on Seventh Cho rds 105

Second Inve rsi on Seventh Chor ds 105

T h i r d Inv ers ion Seventh Chor ds 106

Summar y 106

INTERL UDE XX VI : "A Second" View from a Hill 106

Resolu tion Studies 107

Summary 107

INTERL UDE XX VI I : Fragments 107

PRELUDE: Intimations 108

Natural Mi no r Scale - First Pos it ion 109 Harmo nic Mi no r Scale - First Posi tio n 109

Melodic Mi no r Scale - First Pos iti on 109

Har moni c Mi no r Extens ion 109

Melod ic Mi n or Exte nsi on 109

Mi no r Tri ads 109

Root Position Minor Triads - Close Posi tion 110

Root Positi on Mi n or Tria ds - Op en Posit ion 110

First Inversion Min or Triads - Close Pos iti on 110

First Invers ion Mi no r Triads - Ope n Position 110

Second Inversion Mi no r Triads - Close Pos iti on 110

Second Invers ion Mi no r Triads - Ope n Position 110

Summary 110 Seventh Chords on the Ha rmo ni c Mi no r Scale I l l

Principal an d Secondary Sevenths I l l

Root Position Sevenths - Ope n Position I l l

First Inversi on Sevenths - Op en Position I l l

Second Inver sion Sevenths - Op en Position I l l

Second Inv ers ion Sevenths - co nt in ue d 112

T h i r d Inv ers ion Sevenths - Op en Posi tion 112

Sum mar y-S event h Chor ds 112

GREAT PLA INS ODYSSEY 113



103

C # Major - A # Minor

C M a j o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n gC a d e n c e

C# F# cf l Gtf -7 C#

1

^ Irl |2gjj-fr. o n 1 - |1Q ^ F a

T i p 4^1^I IV I4 V - 7 I

C * M a j o r S c a l e E x t e n s i o n : T w o C o n j o i n i n g P a t t e r n s

_ - - —1

r ------ ~ 3 4 1

0 U # L ,, 2 4 1 S j J ^ ; 1 3 1 £ f : ' ^ ^ ^ ! ^ _ 1 4 2 2 1 2 4 1 3 4 2

* 1 jjJJ33 | r ,rrrgr|r%r| r JJjj]]!; - —| — j 11T r i a d s o n th e C M a j o r Sca le

C# D # m E # m F# G# A#.mcif

=312:45

i Lower Te tr ac ho rd — - - -> 1 Upper Tetrac hord-


4 3 1 4 2 J , 3 i l 32

J , J ' - A ^ 4

* L

^ ? r T 'f- r T MI r T r y - ry- J fR o o t P o s i t i o n T r i a d s : O p e n Vo ic in g 1 • 5 • 3

M , m # ^ ' P V ^ | ^ | f f l ^ l ^

§ r

« y . y i f f If- Ylf r I f f ' fF i r s t I n v e r s i o n T r i a d s : C lose Position 3 • 5 • 1

1 °

=F=N — 1 — ' 'i r 'iF i r s t I n v e r s i o n T r i a d s : O p e n Vo i ci ng 3 • 1 • 5

f- f r ff Yf v; T-V- f ; yy 'f ff r



104

F i r s t I n v e r s i o n ( c o n t i n u e d )

ft

1 *

— -0 — 1-• *'

8 1

X —LL!—[

S e c o n d I n v e r s i o n T r i a d s : C lose P os i t i on 5 • 1 • 3

pf f c1 15)-

P r r T rfSecond Inversion Triads: Op en Vo i c i n g 5 * 3 * 1

if f r

S u m m a r y : C l o s e P o s i t i o n T r i a d I n v e r s i o n s

1

r f r

I D | m I E # m j j

r J i ; ^ r l i ^ r i ^ p

E J m , J Ft!

f f r i f ? r i f

Moderato

C^ C3 C2 C64 m r44Cr4-, " 4 ^ i ci UC42S

»,»„ , m m„ 1riyn, ff !MffTi^H, T i

Interlude XXVC4

4 J ^ 4 ClR. S. Pick

J L 4C 4 2 - J

molto rit.

a tempo

0 1 J31«jfl

1 ^ 2f»—

8 T £ — t — L .u—&

02 -F

« » l i

2 "

' 0;




105

S e v e n t h C h o r d s o n t h e C * M a j o r S c a l e

Ha

Ctfmaj7 Dtfm7 E#m 7 F#maj7 G#7 A| m7

L

B#*7 C#maj7

12

i Lower Tetrachord-

A f t

c «

_ 1 i Upper Tetrach ord -


O U a j 7 F# F#maj7 D # m D * ? 7 B # ° 7 G $7 G # 7 . 5 G # 7

4 S 2)133_«. 3i4 p 4T

3aHi ^ i id 'H3<V 4<

f 2

R o o t P o s i t i o n S e v e n t h C h o r d s : O p e n V o i c i n g 1 • 5 • 7 • 3

I f

2 4 1 3 .i 2

T l 1

J j

2

i 1

^ — =

1 2 3 4

3rJ! T 3

s1 19- w

{

m

'J

D

— * 1—

r

— #

—r

m

•J

i

®

r 1 — ^—d —i$ i r 1 r r8 r

V

r — — I

f

1 4 :

F i r s t I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c i n g 3 • 1 • 5 • 7

1 4 2 1

f f 1 ©

r r

i l l 3

r f f F

16 :

S e c o n d I n v e r s i o n S e v e n t h C h o r d s : O p e n V o i c i n g 5 • 1 • 3 • 7

3 1 ^ 2 3 1 i . 2 J * 1 1 , 1 4

„ 1 4 q 1 4 2 1 -1

2 i - i - i 2 j ^ - r - 1 ' r f Q ^

L ® f f f r

f f f f



06

Th i r d Inversion Seventh Chords: Op en Vo i c i n g 7 • 3 • 5 • 1

3 j L i - i ^ 3 1 4

Cl

1 L J — i 2 3 1 1 1 2l C6 i i

Hi

r r

J J—J I S

fSummary: Seventh Chord Inversions on the C* Major Scale

C#maj7 J j 4 ^ . D # m7 C ^

}J d ? i i l? f i f IU .4 i d j j i t i

8 lj- i m l \ I 1 J s : 2f 2f I I

C l l

f t *

E#m7

i d

F# maj7 4 ^ :l

f r T 'f y y ' r TC6

G(t7

Cl

4 3 *

T TA#m7

T T a — ^ — p - art T 'ICflmaj? Ajim7" " " j J ' " * | " " C f ; E « m / G Gt t7 C(t

M i . = f i ag j j . a f l i I p IIIF ' ! f j j j j al:

Interlude XXVI

P Sr r r

Smoothly C , 6 4

C . 5 C42 4 4 _ J 3^,4 4 _ 3 1

C64

C64 2

R. S. Pick

*Note: This Interlude may be used as a direct modulation from Interlude I I in C Major.



. A Second View From A H i l l



R e s o l u t i o n S t u d i e s

F o r m I T y p e 1: ® © ® <D S t r i n g s

20

BflBf 7G# 7G# 7-5

3 4- g - v |,1

40. ,

IS) ' t f M ' 3 ^ H ^ » ! 9 d- » 4

v T r r p. * l l 2 f • 11 T r r r 1 1 M

F o r m I T y p e 2: ® © ® ... © S t r i n g s

i0 0 0 0

r r r r r " r r r r r - T r r n fF o r m I I T y p e 1: © ® ® © S t r i n g s

I: f ; i « i^i ii nil

*hf ^ f ^ mr r r r r r r r r -

F o r m I I T y p e 2: © ® ® ... © S t r i n g s

l

#: f f f f rrrrr r r r t rr r r r r

i

F o r m I I I T y p e 1: ® ® © © S t r i n g s

i ill f • r rrr rr r r r r r r i r r r r

S u m m a r y : B # 0 7 to G # 7

U i -

I f If y f T f r

T 1

" "

4 44J5.

25

GO 7 Btt*7 r r

^ = P> f ; *lf * r r i r r 1 ' r

• — •

mmrr rr ff

Interlude XXVII

r rAdagio m i e n u u e ^ v v n R.s .P ick

C 4 I 4, C6 4 C 4 . H 4 | H 1 4 H ' 2 6

^ -tt IT4 iip r 'o^—A 'i l 1 ii ' 1 P 'y^— Ig. 3

* P — | - 2T5^ igz - r * p

.. Fragments



08

Moderately

C l

Prelude

4 3 C6

3C 6 i s C 2

C42 4 1 2

R. S. PickC6

2 3 4 3

n T T T T fcan tab He ' I 7"4 4 4 1 3

C43. . 4 1 4 s , 4 1 2

* #

1 4 C4

S3

1 4 1 3 1 4 1 3 1 4

TC6

4 1 3 1 4 4 1 _2 1^ 3 1

—0 •

1

•

4 3

J

4 1

8 A "C—[i J 2

-* 0 ' M * ^

[3 E I*"

® 1 7 f * r T

H a

C4 Cl2 _ _ J 1 2

C l2 4 3 C2

4 2C l C3 C4

W —J

T ^ r v T 7 f 7

ft

2 4 1 4 1 41 3 C 1 2 1

C l , , C 24 1

C l

|2 I 2 I 3

C4C2 C4 , 2 1 4 2 4 3

313 |3 £ S |3

C42 3 4 2 4 1

4 2 4 3 4 2C4

4 2 4 3 2 1

C44 2 3 4 1 3 4 1

50 $0

2Cl

Aft

3 4 3

= L IIC l

2 4 3

T ir f T f T T2 a 2 4 1 3

C24 2 , 3 4 A 4 4

rr4 3

f r T f T TC4 , , C 6 2 4 2

4 1 3 4 1 2 ^ 3 1 3 4 J ,

r 'P r if fCopyright © 1992 Editions Orphee, Columbus, OH , 43221

International Copyright Secured. Made in U.SA. A ll Rights ReservedI n t i ma t i o ns



109

A # Minor - C # Major

A * M o d a l M i n o r S c al e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

24

1 3 4 1 3 4 1 3, 1 2 4 1 2 "1 -m-

A H a r m o n i c M i n o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g C a d e n c e

25- ij , r r r f r4 AIHIB

_ a J' ""5

-n E#-7 A#m

IE) •••8

i i v n v - 7 i

A * M e l o d i c M i n o r S c a l e : F i r s t P o s i t i o n - N o r m a l F i n g e r i n g

I 3 - 3

ipus1 3 ' 3 4 TT4 2 i

A * H a r m o n i c M i n o r Sc a l e : T h r e e C o n j o i n e d S c a l e P a t t e r n s - E x t e n s i o n s

7 m—1« , # ^ 5 j ® ® L -

L. -

A # M e l o d i c M i n o r S c a l e : S i x C o n j o i n e d S c a l e P a t t e r n s - E x t e n s i o n s

------ v wi ij^hfiHrwi 1 rv i 1

ftrti. , L 1 3 4 1 3 i j . 14, i 2 4 i . l x j ^ ^ = : = : = : = : = - : = : - f ^ - ^ 1 ^ 1 3 1 4 3 i , l i _ 4 3 i 4 3 1

1 C6V . - -J

® - * - i- - - - - - - - - - _ r j ® - L _

T r i a d s o n t h e A * M i n o r S c a l e : T h r e e F o r m s

ftft

A #m Btf° C# D#m E#M F# G| A # m H a r m o m cE# F# G* ° A fm

if ' i f ''f f Pf f T f2 =3j

f i e

4 "^- 4

Lower Tetrachord ' L -Upper Tetra chord

Ejt F* ° G X o A jMelodic

"8 g 4 S2

m



110

R o o t P o s i t i o n T r i a d s : C lose Po si ti on 1 • 3 • 5

rrrr r

3 3 . 4 , i

1 i f r ir f ff

R o o t P o s i t i o n T r i a d s : O p e n Vo ic in g 1 • 5 • 3

4 .. o 4 , o 3


f f f r T r 'r " 'I r T r r r f rF i r s t I n v e r s i o n T r i a d s : O p e n V oi ci ng 3 • 1 • 5

I r t j u [1 — • » —l^rtf r

1

* r r r•r i 'i r 'i

r r• • • 1

rSecond Inversion Triads: C lose Po si ti on 5 • 1 • 3

i - 2 t i 2 ' *•>•*-'

ft

r r r ' ' 1r"

r 'r r rir S e c o n d I n v e r s i o n T r i a d s : O p e n V oi c in g 5 * 3 * 1

,.,.n t H i H v ^ t t i B d i rtlna•v,i iffirtifiriiTff1 rPrP. rr? m

ft

f f f f r r r f f fff r f f rS u m m a r y : C l o s e P o s i t i o n T r i a d s o n t he A * H a r m o n i c M i n o r Sca l e

? ™iJyp 'yfr y r r 'yfr Sff T y r W fr



I l l

A#m7 Btf*7

S e v e n t h C h o r d s : A * H a r m o n i c M i n o r Sca le

C|maj7 D#m7 E#7 F#maj7 G*°7 A#m(maj7)

mT

3 7 : 4

f P r i n c i p a l a n d S e c o n d a r y C h o r d s a n d S even t hs

A#mA#m(maj7)A#m7B^7G# 0 7E#7 D#mD#m7B#*7 G x °7 E#7

4

A#m

f r f r r r f V r f f i r r f38

1 1

R o o t P o s i t i o n S e v e n t h C h o r d s : Open Vo i c ing 1 • 5 • 7 • 3

39

f J T Tr r t1 ® A

f rT —

1 3 2 4 4 1 1 1

f r i r r rF i r s t I n v e r s i o n S e v e n t h C h o r d s : Open Vo i c ing 3 • 7 • 1 • 5

J J3=*I

f rS e c o n d I n v e r s i o n S e v e n t h C h o r d s : Open Vo i c ing 5 • 1 • 3 • 7

4 _ Q i _ l



112

Second Inversion Seventh Chords: Op en Voi cing 5 • 1 • 3 • 7

•

2 , i _ 4 i

-0— m

3 ,

-0-

1*

m •

1 1 . J L i .

j —

I .

S H :

— r •r f = r i M '

4 p »— • _ K<> , «

rUI j 'L iJ j ,1f

*4


2 3 l J . 3 ^ l JL l 1 l A 2 J j i 2 3 l 3 1

f f f f

J-*0 ~*0 3

T

A#m7


B^74- 4 ^ 5 .

45

Jt 4 * 3 - i - 10 i f - * -

J 3 f~ 1 J \ I

4- | 3- * ' 3 - 2 «

C#maj'

— I . r4 - .— 3 - * 4 14 - S -

1 #

D#m74 4

^J 2 .

- 5

3=

4 ^ I f i f ' i

AtE i 7 4 j 4 J 2 j 2 . F#maj7 . I 3 _,_ 4± :

fej >4 ltd \i if* ?,r i f ii?j i i \ti \i i l l ? p #

G x a 7-3-#

4 JS .

f TA#m7

E#7 Aj m

i*J» 2 ! 1 = 1



113

Great Plains Odyssey

Moderate C l l

^ 4k. 1 1R. S. Pick

45 I S T 'T if 11 r | = Trap a piacere \ • w

m

Andantino

r

4 1 3 4

v - r => = =f = i„* J J'aJv *

wip cantabile

To Codafy

1 2 2 J .

poco nr.

C6 £4a tempo C4 3 41 I I I 3 > _ 3 4

17i

C3 3 C l 2 4 2 0 4 0 4

ZS2 0 " S CJ V * 1 0211

f W 2 ='5T

TTip rit.

C6

25

4 a A A „ L «ra//. 4 3 4 4 3-3 t


International Copyright Secured. Made in U.S A Al l Rights Reserved



114

a tempo meno mosso

C6 , C8C6 I C8 I C6 I C3 3 1,

i

r r — 3

2"r r r r r r

C8

4, y J>j)i i r jU J , /i*lS> ( 9 ' Kf P ~

Har.0 Har. I 3 -

1 3 - 1 3 - 4 - 1

m3 § E » - 3 ^

i ^

rail, molto

a tempo

C4 C6 C4 4 C l

<

3

C6 C3

1

C6 C4 C6 C3 C5

a tempo

fC l l A G •%• al e poi la coda

C6 , C4

Richard Pick

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