Guitar Academy Part II : simplebooklet.com

Introduc tio n *to*Guitar*Academy*Part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eft*Hand*Development*?5+':&+%$+&'"3+'47'$5+'74"&$5'7#2:+&'%2*'#2*+1+2*+2)+'47'$5+'3+)42*'%2*'$5#&*'*+%63'=#$5'=5%$'=+')%66'$5+'B6+7$'5%2*'$&#%2:6+C8'D#2:+&3'E'%2*'F',"3$'<+)4,+',4&+'#2*+1+2*+2$;'<"$'$5+-'%634',"3$'#2$+&%)$'=#$5'%'3$&42:+&'G$5'7#2:+&8'?5#3'7"2*%,+2$%6'3$&+2:$5'#3'+0+&)#3+*'31+)#7#)%66-'42'1%:+'74"&'47'$5+')54&*'3"116+,+2$8'''Alternating*(6$54":5'%6$+&2%$#2:')%2'<+'"3+*'#2'.%&$'/'47'!"#$%&'()%*+,-;'#$'#3'31+)#7#)%66-'%**&+33+*'#2'$5+'<+:#22#2:'47'.%&$'//'=#$5'34,+'3#,16+'+0+&)#3+38'(6$+&2%$#2:'#3'3"::+3$+*'#2'$5+'7#2:+&#2:'47'34,+'47'$5+'1#+)+3'#2'.%&$'//8'(3'#2'.%&$'/;'#$'#3'"6$#,%$+6-'"1'$4'$5+'#23$&")$4&'=5+2'$5+-'7++6')+&$%#2'$+)52#H"+3'354"6*'<+'%**&+33+*8''The*Music*?5+',"3#)'#2'.%&$'//'#3'%634',4&+'#29469+*'%2*'3415#3$#)%$+*8''/$'&+H"#&+3',4&+'47'$5+'3$"*+2$;'<"$'%634'*+6#9+&3',4&+'=#$5'+2:%:#2:'1#+)+3;'<4$5'3464'%2*'+23+,<6+8'(3'#2'!"#$%&'()%*+,-'.%&$'/;',%2-'47'$5+'+23+,<6+'=4&>3'%634',%>+'=4&$5-'3464'1#+)+38''Ensemble*Format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he*Chord*Supplement*(3'#2'.%&$'/;'$5+'#23$&")$4&')%2'"3+'$5+'3"116+,+2$'%$'5#3'4&'5+&'4=2'*#3)&+$#428'L4=+9+&'$5+'15-3#)%6')5%66+2:+3'47'<4$5'$5+'6+7$'%2*'&#:5$'5%2*'%&+'<+3$'3+&9+*'<-'&+:"6%&6-'*4#2:'%'7+='1%:+3'+%)5'=++>8'?5+'3"116+,+2$3')54&*'35%1+3'1&+7#:"&+'$5+'6%$+&'1#+)+3'#2'$5+',%#2'3+)$#42'%2*'1&+1%&+'3$"*+2$3'74&'$5+'5%&,42#)',%$+&#%6'$5+-'=#66'+2)4"2$+&'#2'$543+'1#+)+38'(3'=#$5'$5+')54&*'3"116+,+2$'#2'.%&$'/;'.%&$'//')54&*'+0+&)#3+3'%634',%>+':44*'=%&,A"1'+0+&)#3+3'%$'$5+'<+:#22#2:'47'%')6%338'Go to www.MillerGuitarAcademy.com/mga-tracks for practice tracks.

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& 44..œ œ œ œmiimmiimœ œ œ œœ œ œ œœ œ œ œw&˙n˙n&œ œ œ œœ œ œ œm0i m i1Frets:œ# œ œ œœ œ œ œ2 3œ# œ œ œ œn œ œ œ4 3œ# œ œ œ œn œ œ œ2 1&œ œ œœ œ œ œ# œ œœ œ œ3 333m i m i m iœ# œ œ œn œ œœ# œ œ œn œ œ3333&œ œœ œ œ# œœ œm i m iœ# œ œn œœ# œ œn œ&....œœ œ#œ œ# œnœa œnm i m iœœ œ#œ œ# œnœa œnwAlternatingAlternating is a critical right hand technique to any fingerstyle or classical playing. The following exercises begin to develop this important technique that will be a key part of this program in level three. It will also help with your overall agility and control.Ex. 1 Play this open string exercise repeatedly first with "m-i" then "i-m" patterns.Play this complete exercise on the first string, then on each string with the alternating indicated.Alternating / Extended Chromatic Scale A.The Natural Sign Natural signs are added to raise or lower notes after a flat or sharp.The natural returns the note to its original pitch. On the guitarthis means lowering by one fret after a sharp note. See example.Example. "G and F natural"

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& œ œœ œœ œœ œm i m i m i m iG Major Scale Ex. 1œ œœ œœ œœ œw œœœœmdoiremmiifaEx. 2œœœœso fa mi rewdo&œ œœ œœ œœ œm i m i m i m iC Major Scale Ex. 1œ œœ œœ œœ œw œœœœmdoiremmiifaEx. 2œœœœso fa mi rewdo&œ œœ œœ œœ œm i m i m i m iA minor Scale Ex. 1œ œœ œœ œœ œœ œœ œœ œœ œw&œœœœmla tiidomreiEx. 2œœœœmimfaisomfaiœœœœmi re do tiwla&œœ˙Sixth StringEx. 10 13E F Gœœ˙Ex. 2023A B CFifth Stringœœ˙Ex. 3D E F023Fourth String&œ œœ œEx. 4œ œœ œœ œœ œœ œœ œ&œ œœ œœ œœ œœ œœ œœ œœ œwSing the solfege of exercise 2 of each scale.Scale Study and ReviewBass Note ReviewB.

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& œœœœEx. 1i m i mPlay exercises 1- 6 two times each.˙˙˙˙imimœœœœEx. 2˙˙˙˙Play exercises 7-10 four times each.œœœœ4Ex. 3˙˙˙˙œœœœi m i mEx. 4˙˙˙˙imim&œœœœEx. 5˙˙˙˙œœœœEx. 64˙˙˙˙œœœœEx. 7œœœœEx. 84œœœœEx. 9œœœœEx. 104& œœœœ œœœœi mPattern one throughout.Pattern two throughout.œœœœ ˙˙œœœœ œœœœ4œœœœ ˙˙& œœœœ œœœœœœœœ ˙˙œœœœœœœœ4œœœœ ˙˙&œœœœ œœœœi mœœœœ ˙˙œœœœ œœœœ4œœœœ ˙˙&œœœœ œœœœ4œœœœ ˙˙œœœœœœœœ4œœœœ ˙˙Simultaneous Note Studies Study in GStudy in CC.

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&c˙ ˙Ex. 1˙ ˙˙ ˙Ex. 2˙ ˙˙ ˙Ex. 3˙ ˙&œ œ œ œEx. 4œ œ œ œœ œ œ œœ œ œ œœ œœ œEx. 5œ œœ œœœœœEx. 6& 42w#G#œœ#œœœœ#œœ& 42œ œ œ œ1 + 2 +Ex. 1œ œ œ œ1 + 2 +Ex. 2&jœ œjœ1!!!!!!!!!!!!!!!!!!!!!+!!!!!!!!!!!!!!!!!!!2 +Ex. 3Thumb ExercisesIn Part II the thumb becomes more active on the three bass strings 4th, 5th and 6th. Practice making a largecircular motion with the thumb from the large knuckle that connects the thumb to the hand. Make sure that the thumb stays ﬂat and the middle knuckle does not crimp. As you go to the quarter note exercises the circle should get smaller.Any note can be raised by adding a sharp. In this case the note G becomes G-sharp by adding the sharp sign.On guitar sharping a note raises it by one fret. Once a note is altered in this way, the sharp remains for the entire measure, but the note goes back to its natural state in the following measure unless a sharp is added again as in measure 2 of the exercise.New Note G-SharpSyncopationsSyncopations are rhythms that stress notes that are not normally strong. The notes that fall in-between the beats (on the +'s) are normally weak.Play this exercise keeping the 1st ﬁnger on the G-sharp throughout.1.In Ex. 1 play the four eighth notes while counting it out. In Ex. 2 play the eighth notes with the tie while counting. In Ex. 3 the tied rhythm is notated with a quarter note instead of two eighth notes.Note: The following rhythm in Ex. 3 is found throughout the "Trio in a minor" on the next page.

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&&&cccœ>œœ>œœ#>œœ>œJœœœœ>Jœœjœœ#œœ>jœœjœ œjœjœ œjœAm Eq»¶§imimœ>œœ>œœ>œœ>œJœœœœ>JœœJœœœœ>Jœœjœ œjœœ œAmEm7imimœœœœœœœœJœœœœJœœJœœœœJœœjœ œjœjœ œjœAminsimilesimileœœœœ˙JœœœœJœœ˙˙œ œ œœ œEmin&&&......5œœœœœ#œœœ5JœœœœJœœjœœ#œœjœœ5jœ œjœjœ œjœAm EœœœœœœJœœœœJœœœœœœ#œ œ œœ œAm EminEœœœœœœœœœœœ#œjœ œjœjœ œjœEminEœœœœ˙œœ#˙œ œ œ œ˙Amin E AminTrio in A minor2.AUDIO TRACKS 1, 2, 3The > sign in measure one is an accent mark. This means that the notes played with the index ﬁnger should be played more strongly in order to provide a very strong beat.The indication "simile" directs the player(s) in guitar one to continue accenting the beats. Likewise the quarter notes in guitar two should be accented in the syncopated measures.Note: A suggested order for learning the parts is 1-3-2. The guitar two part should be learned last because the guitar one part has the same notes per beat, and guitar three has the same rhythms as two.Performance scheme: This piece can be played as a duo between any two parts. As a trio with one or more persons on each part, play the piece three times with players moving to the next part on the repeat allowing every player to perform each part. For the Practice Tracks go to: www.MillerGuitarAcademy.com/mga-tracks

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&c Œœœœwpi m iEx. 1Play each exercise 4 to 8 times.ŒœœœwEx. 2Œœ#œœwEx. 3ŒœœœwEx. 4ŒœœœwEx. 5Œ œœœwEx. 6&&ŒœœœœœœwŒœœœœœœwq»¡º•ŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒ œœ#œœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwww#Ó˙wwÓ˙&&......ŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœœœœœwŒœœ#œœœœwŒœœœœœœwŒœœœœœœw1.wwÓ˙ww#Ó˙2.wwÓ˙wwÓ˙3.Chord Study in A minorPreparatory StudyAUDIO TRACK 4In each part play the stems-up notes ﬁrst then add the thumb notes.The following exercises prepare the player(s) for "Chord Study in A minor" and "Desert Song Duo". Note: This piece can be played as a solo or a duo as both parts play all essential patterns.Note: In "Desert Song Duo" exercises 1-3 are the basic patterns found in guitar one. Exercises 4-6 are the patterns found in guitar two.

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&&cc‰œœœ‰œœœ˙ ˙‰œœœ‰œœœ˙ ˙Aminq»80-92‰œœœ‰œœœ˙ ˙‰œœœ‰œœœ˙ ˙Dmin‰œœœ‰œœœ˙ ˙‰œœœ‰œœœ˙ ˙Amin‰œ#œœ‰œœœ˙ ˙‰ œœœ ‰ œœœ˙ ˙E&&5‰œœœ‰œœœ˙ ˙5‰œœœ‰œœœ˙ ˙Amin‰œœœ‰œœœ˙ ˙‰œœœ‰œœœ˙ ˙Dmin‰œ#œœ‰œœœ˙ ˙‰ œœœ ‰ œœœ˙ ˙E‰œœœÓ˙ ˙‰œœœÓ˙ ˙Amin&&9‰œœœ‰œœœ˙ ˙9‰œœœ‰œœœ˙ ˙Dmin‰œœœ‰œœœ˙ ˙‰œœœ‰œœœ˙ ˙Amin‰œ#œœ‰œœœ˙ ˙‰ œœœ ‰ œœœ˙ ˙E‰œœœ‰œœœ˙ ˙‰œœœ‰œœœ˙ ˙Amin&&....13‰œœœ‰œœœ˙ ˙13‰œœœ‰œœœ˙ ˙Dmin‰œœœ‰œœœ˙ ˙‰œœœ‰œœœ˙ ˙Amin‰œ#œœ‰œœœ˙ ˙‰ œœœ ‰ œœœ˙ ˙E‰œœœÓ˙ ˙‰œœœÓ˙ ˙AminDesert Song Duo4.AUDIO TRACKS 5, 6, 7Each part on this piece can be played as a solo or a duo with the other part. As a duo each player or group of players can exchange parts at the repeat. A third part can also be added by strumming the chords in a half note rhythm.

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&www&œœla tiœœti doœœœœla ti do tiœœœœla ti do reœœœœmi re do tiwla&&4242œ œœ˙q»§§œ œœ˙œœœ œœ˙œ œœœœœœœœœ˙œœ˙˙œœœ&&....œ œœœœœ œœœœœm iœœœ œœm i m˙œ œœi m iœœœœœm iœœ˙mœœœœi m˙˙iTwo Part Invention No. I5.Note Review / D minor scale FED, fourth string, openE, fourth string, second fretF, fourth string, third fretuse thumb (p) of right handEx. 1 Ex. 2 Ex. 3 Ex. 4Use thumb (p) including 3rd string notes.Use p throughout ﬁrst part including 3rd string notes.Use p until ﬁngers are indicated on second part.DIn the following exercises sing the solfege before playing each one.A two-part invention was a form perfected by Baroque composer J.S. Bach. It incorporates the use of "imitation" which is a technique of overlapping melodies in imitation of an earlier idea. In this piece thesecond guitar imitates the ﬁrst guitar beginning in measure 3. After guitar 1 begins a new phrase in measure 5, the guitar two part again begins imitating guitar 1 at measure 8.

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&www&œœla tiœœti doœœœœla ti do tiœœœœla ti do reœœœœmi re do tiwla&&4343œœœ˙ œAmin.˙œœœEœœœ˙œE2.˙œœœAmin3œœœ˙œAmin˙œ˙œD minœœœ˙œEFine.˙.˙Amin&&œœœ˙œAmin3˙ œ˙œE2œœœ˙œAmin3˙ œ˙ œE2œœœœœœEœœœœœœAminœœœ˙ œE223D.C. al Fine.˙˙œE3Invention No. II6.Note Review / A minor scale CBA, ﬁfth string, openB, ﬁfth string, second fretC, ﬁfth string, third fretuse thumb (p) of right handEx. 1 Ex. 2 Ex. 3Ex. 4AIn the following exercises sing the solfege before playing each one.This two-part invention uses counterpoint by trading off quarter note motion between the two parts.While one part is playing quarter notes the other part is more static playing half notes against the quarter note activity of the other.

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&www&œœmi faœœfa soœœœœmi fa so faœœœœmi fa so laœœœœti la so fawmi&&4343œœœ˙œ.˙œœœœœœ˙œœœœ.˙˙œœœœ.˙œœœœœœ˙œœœœ.˙&&.....˙œœœœœœ.˙.˙œœœœœœ.˙˙œœœœ˙œœœœœœœ˙ œ.˙.˙Invention No. III7.Note Review / E Phrygian scale GFE, sixth string, openF, sixth string, second fretG, sixth string, third fretuse thumb (p) of right handEx. 1 Ex. 2 Ex. 3Ex. 4EIn the following exercises sing the solfege before playing each one.This two-part invention uses counterpoint by trading off quarter note motion between the two parts.While one part is playing quarter notes the other part is more static playing half notes against the quarter note activity of the other. The E "Phrygian" scale is very similar to E minor and used especially in the music of Spain.

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&œœœœœœœœ œœœœœœœœ w&œ œ œ œœ œ œ œm i m i m i m iœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ&œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ&œœœœœœœœœœœœ3 333m i m i m i m i m i m iœœœœœœœœœœœœm i m i m i m i m i m iœœœœœœœœœœœœm i m i m i m i m i m iœœœœœœœœœœœ œm i m i m i m i m i m i&œ œœ œœ œœ œm i m i m i m iœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œ&œœœœm i m iœœœœ œœœœœœœœ wC Major ScaleAlternating 4-3-2-1 RepetitionsNow play the C Major scale using this pattern of repetitions with alternating m-i. It is a great way to further develop the important skill of alternating. Once you've can securely play each version of the scale then play strait through them without stopping as a regular daily routine.8.First learn this one-octave C Major Scale by playing it slowly with any right hand fingering you want.

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&cœœ˙021pi mCœœ˙œœ˙œœ˙&..œœ˙300G7œœ˙œœ˙œœ˙wwwC&cœœœœp i m iCœœœœœœœœœœœœ&..œœœœG7œœœœœœœœœœœœwwwC& 83œœœCœœœœœœœœœ&..œœœG7œœœœœœœœœ...œœœC9.Arpeggios are simply "broken chords". Instead of being plucked simultaneously each note is played in succession in a moving pattern so that each note blends with the others. In the next group of exercises hold down the notes in each measure forming the chord. Do not move your left hand ﬁngers until the notes change in measure 5.Note: The letters that periodically appear above the staff are chord symbols that represent the chord from which the arpeggios are made.Ex. 1Ex. 2Ex. 3Arpeggios

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&&&ccc3œœœ3œœœ3œœœ3œœœ1p+iam2p+iam3 + a 4 + aœ œ œ œ.˙ œ.˙ œq»•ºaaœœœœœœœœœœœœœ œ œ œœ.˙œ.˙amœœœœœœœœœœœœœ œ œ œ˙œœ˙ œ œœœœœœœœœœœœœœ œ œ œ˙˙˙˙&&&......5œœœœœœœœœœœœœ œ œ œ˙œ œ5˙œ œamœœœœœœœœœœœœœ œ œ œ˙œ œ˙œ œam1œœœœœœœœœœœœœ œ œ œ˙˙˙˙aiœœœœœœœœœœœœœ œœ œwwm&&&92œœœœœœœœœœœœœ œ œœ.˙œ9.˙ œœœœœœœœœœœœœœœœœœœœœœœ œ œrit. (slow down)rit. (slow down)rit. (slow down)œœœœœœ˙˙œœ˙ww10.Kyrie eleisonAUDIO TRACKS 8,9,10This piece is primarily to teach playing triplet arpeggios, but also to work on melodic playing in the 2nd and 3rd parts.It can be played as a solo arpeggio piece, a duo or trio. In a group you can also cover all parts in one performance by:1. Playing both parts 1 & 2 as a duo and just switch parts at the repeat after playing the ﬁrst ending. 2. Playing as a trio three times, repeating at the ﬁrst ending. Each time player's move to the next part saving the 2nd ending for the last time through. Note: Rit. or "Ritardando" means to gradually slow down from the Rit. indication forward, in this case to the end.

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&cwSlowly and MajesticallyGtr. 1, 2, 3pwwww www&9œœ.˙wpiœœ.˙wœœ.˙wœœ.˙w&13œœ.˙w œœ.˙wœœ.˙wœœ.˙w&17œœ.˙wpimœœ.˙wœœ.˙wœœ.˙w&21œœ.˙w œœ.˙wœœ.˙wœœ.˙w&25œœœ˙wp imiœœœ˙wœœœ˙wœœœ˙w&29œœœ˙w œœœ˙wœœœ˙wœœœ˙w&..33œœœœœwp i m imœœœœœwœœœœœwœœœœœw&37œœœœœw œœœœœwœœœœœwœœœœœwThe AscentThis piece is to help develop independence of line and independence of left hand ﬁngers. A whole-note bass line is presented on the fourth string. Each line then adds another note until there is a ﬁve-note pattern.The main goal is to sustain the whole note pattern on the fourth string while playing the melodic pattern on the second and third string so that two distinct parts are heard.The Ascent can be played by one player with the teacher accompanying on the second part, or with other players as a three-part ensemble. All players begin on the ﬁrst part. At measure 41 some players can take theguitar 2 & 3 parts.11.AUDIO TRACK 11

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&&&41œœœœœwœœœœœœwŒ.˙wGtr. 1Gtr. 2Gtr. 3œœœœœwœœœœœœwŒ.˙wœœœœœwœœœœœœwŒ.˙w23œœœœœwœœœœœœwŒ.˙w&&&45œœœœœwœœœœœœwŒ.˙wœœœœœwœœœœœœwŒ.˙wœœœœœwœœœœœœwŒ.˙wœœœœœwœœœœœœwŒ.˙w&&&49œœœœœœœœwœœœœœœwwwpimim i m iœœœœœœœœwœœœœœœwwwœœœœœœœœwœœœœœœwww23œœœœœœwœœœœœœœœ˙˙˙˙˙˙&&&......53œœœœœœœœwœœœœœœwwwœœœœœœœœwœœœœœœwwwœœœœœœœœwœœœœœœwwwœœœœœœwœœœœœœœœ˙˙˙˙˙˙rit. (2nd time)rit. (2nd time)rit. (2nd time)wwww12.

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43..œœœEx. 1G...˙˙˙œœœC...˙˙˙œœœ3G74...˙˙˙œœœC...˙˙˙...˙˙˙G43.....˙˙˙Ex. 2...˙˙˙...˙˙˙...˙˙˙...˙˙˙4...˙˙˙...˙˙˙...˙˙˙...˙˙˙43..˙˙˙œœœEx. 3˙˙˙œœœ˙˙˙œœœ43˙˙˙œœœ...˙˙˙86..œœœ>jœœœœœœ>jœœœ1 2 3 4 5 6Ex. 4 qk»§§œœœjœœœœœœjœœœ43œœœjœœœœœœjœœœœœœjœœœœœœjœœœ...˙˙˙14.All chords are made up of individual notes that can be played together or separately. The following exercise builds three chords by presenting each one as individual notes ﬁrst, then played all together at once.Chord Building / Blues No. 2 PreparationThree-Four timeThe number 3 of the time signature 3/4 means___________________________________.The number 4 in 3/4 time means______________________________________.Assignments: 1. Write in the counting on each of the following exercises. 2. Write in the chord symbols above each chord in exercises 2-4.Six-Eight timeThe number 6 in 6/8 time means____________________________________________.The number 8 in 6/8 time means____________________________________________.Note: Six-eight time is usually lively; stressing beats 1 and 4 thus becoming essentially a two beat pattern. Notice the accent marks in measure one. This is the driving rhythm in "Blues No. 2" on the next page.

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&&&868686..........œœœjœœœœœœjœœœ∑œjœœjœqk»56-7630œœœjœœœœœœjœœœ∑œjœœ#jœ112œœœjœœœœœœjœœœ∑œjœœjœ23œœœjœœœœœœjœœœ∑œjœœjœ3&&&5œœœjœœœœœœjœœœœjœœjœÓ.5œjœœjœ4m imiœœœjœœœœœœjœœœœjœœjœÓ.œjœœ#jœmimiœœœjœœœœœœjœœœÓŒJœœJœœjœœjœpœœœjœœœœœœjœœœÓ.œJœœJœœjœœjœ&&&9œœœjœœœœœœjœœœœjœœjœÓ.9œjœœjœœœœjœœœœœœjœœœœjœœjœÓ.œjœœ#jœœœœjœœœœœœjœœœÓŒJœœJœœjœœjœœœœjœœœœœœjœœœÓ.œJœœJœœjœœjœBlues No. II15.AUDIO TRACKS 15, 16For performance of Blues No. II play all the repeats at measures 4 and 20, but also take the D.C. al Finegoing back to the beginning again taking the repeats at measures 4 and 20, then ending with the "tag" at measure 21. The tag creates a strong ending of the piece.

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&cœœœœp i m iAmin23œœœœœœœœ˙˙˙˙˙˙pmiœœœœEmin2œœœœœœœœ˙˙˙˙˙˙&œœœœC32œœœœœœœœ˙˙˙˙˙˙œœœœEminœœœœœœœœ˙˙˙˙˙˙&œœœœi m a iAminœœœœœœœœ˙˙˙˙˙˙maiœœœœi m aEminœœœœœœœœ˙˙˙˙˙˙ima&œœœœi m a iCœœœœœœœœ˙˙˙˙˙˙maiœœœœi m aEminœœœœœœœœ˙˙˙˙˙˙ima&œ œœ œm i m iœ œœ œm i m iœ œœ œœ œœ œ&œ œœ œm i m iœ œœ œm i m iœ œœ œœ œœ œ˙ œ œEmin˙ ˙w17.Sombre Trails Prep & IntroThe following exercise is to prepare for "Sombre Trails Trio", but it can also be an introduction to the trioin a performance. No Chords

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&&&cccœ œ œœ œ œœœœœœœœœœœœœœœœœq»¶§2i m a mp i2m3i2œ œ œ œœœœœœœœœœœœœœœœœœœ32322œ œ œ œœ œ œœœœœœœœœœœœœœœœœ&&&œœœœ4œœœœ˙4œœœœ˙2i mam a3p2i m3imœ œ œœ œ œœœœœœœœœœœœœœœœœœ œ œ œœ œ œœœœœœœœœœœœœœœœ&&&..........1.œ œœ œœ œœ œ7œ œœ œœ œœ œ7œ œœ œœ œœ œœ œœ œœœœ œœ œœœœ œœ œœœ2.œœ œœœ œœœ œœœ œœœ œœœ œœœ˙œœ˙œœ˙18.Sombre Trails TrioAUDIO TRACKS 17, 18, 19For all players to perform all the materials of this trio follow this scheme: Play the trio three times, repeating at the ﬁrst ending. Each time players move to the next part. Note: The last line has a ﬁrst and second ending. The ﬁrst time through play the two measures in the bracket labeled "1." and on the last time through skip 1. and go to 2.

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& 43œœ˙p imEx. 1œœ˙œœ˙œœ˙&...˙˙˙Ex. 2pim...˙˙˙...˙˙˙...˙˙˙&œœ˙2piEx. 3mœœ˙3œœ˙œœ˙3&...˙˙˙Ex. 4pim...˙˙˙...˙˙˙...˙˙˙&œœ˙Ex. 524œœ˙324Water Song Preparation19.Any arpeggio piece has two main challenges. One is to clearly execute the right hand ﬁngering pattern.The other aspect is to coordinate the left hand chord shapes of each arpeggio.To prepare the arpeggio patterns for "Water Song" use the following techniques in the ﬁrst guitar part:Play just the ﬁrst three notes of each measure as in example 1. Then play the ﬁrst three notes of each measure as block chords as in example 2.Use the same techniques in the second guitar part as demonstrated below. Measures 11 and 12 of "Water Song" are the most challenging measures. Practice this exercise repeatedly.

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&&cc....œœœœœœœœœœœœœœœœœœœœ_```A minor2 3 123121q»∞¢pi m ipimpim ipimœœœœœœœœœœœœœœœœœœœœ3_`2`%Bar I1`1œœœœœœœœœœœœœœœœœœœœ_```F Major3 2 1_```3 2D minor44_`2`4`1œœœœœ#œœœœœœœœœ#œœG7E21&&....5œœœœœœœœœœ5œœœœœœœœœœAmin231œœœœœœœœœœœœœœœœœœœœF3œœœœœœœœœœœœœœœœDmin G7œœœœ˙œœœœ˙AminSixteenth notes are found beginning in measure nine. They are half the length of eighth notes thereforeto count them, more syllables are added as seen between the staves beginning at measure 9.A minor Etude IV21. AUDIO TRACKS 23, 24, 25Use the following ensemble scheme so that all players get the same material to play.1. Have one group or player on each part. 2. At the ﬁrst repeat sign have players switch parts (guitar 1 goes to guitar 2 and guitar 2 goes to guitar 1).3. Have each group continue on the part they are on at measure 9 to the next repeat sign at measure 16.4. At the measure 16 repeat sign the groups switch parts again returning to measure 9 and to the end.Sixteenth NotesAssignment: After learning both parts to a minor Etude IV, write in the chord names in the blanks beginning in measure 9. Use the introduction below as a guide to determine the chord names.A minor Etude IV is a good study for basic chord and arpeggio playing. It also can be an exciting piece when played up to tempo. The opening section with chord charts and symbols lays out the chord progression that also makes up the second section and provides a slow intro in contrast to the faster second half. It can be played as two distinct solo pieces, as a duo or as an ensemble piece for more than one player on each part (see the ensemble scheme below).

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&&....9œœœœœœœœœœœœœœœœ9œœœœœœœœœœœœœœœœ1 e + a 2 e + a 3 e + a 4 e + aœœœœœœœœœœœœœ#œœœœœœœœœœœœœœœœœ#œœ&&11œœœœœœœœœœœœœœœœ11œœœœœœœœœœœœœœœœœœœœœœœœœ#œœœœœœœœœœœœœœœœœ#œœœœœœE7 Sus 43œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ&&....14œœœœœœœœœœœœœœœœ14œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ#œœœœœœœœœœœœœœ#œœœœœœœ2322.

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&wNew Note Aﬁrst string, ﬁfth fret, fourth ﬁnger4&˙#˙2 3Frets:12Ex. 1˙#˙4 534˙# ˙n4 3w#2&˙#˙2 3Frets:12IIEx. 2˙˙5 342w#21&˙˙IIEx. 32 4˙#˙12˙˙4˙#˙w"Largo" from Concerto for Lute - Antonio VivaldiAlthough Antonio Vivaldi did not write music specifically for guitar, this excerpt is from his Concerto for Lute. The lute while not directly related to the guitar in its origin is very similar to the guitar, therefore guitarists borrow heavily from the lute's repertoire. A concerto is an orchestra piece that features a soloist on a particular instrument. The orchestra primarily supports and interacts with the soloist as the instrument shows its unique character. "Largo" on the following page is arranged as a trio that presents the lutes solo part as the first guitar. The second and third guitar parts are taken from the orchestra parts and support the solo part. Before learning Largo there are some left hand fingering patterns that need to be worked out.Second PositionSecond position refers to the left hand. Throughout Part I & II of Guitar Academy we have been working within the ﬁrst four frets of the guitar which is called ﬁrst position (not to be confused with the right handpatterns I and II). Second position comprises the four-fret region that includes frets 2 through 5. On the ﬁrst string that includes the following notes of the chromatic scale:In "Largo" these notes in second position can be found in the first guitar part. Play this exercise repeatedly. The symbol for second position is "II".26.This arrangement can be played as an ensemble piece with one or more persons to a part, or featuring one guitarist on the first part in the concerto style with other players acting as an orchestra playing parts 2 & 3.

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&&&424242.œJœ˙˙˙˙P.œJœ˙˙˙˙.œJœ˙˙˙˙.œJœ˙˙˙˙.œJœ˙˙˙˙.œJœ˙˙˙˙.œJœ˙˙˙˙4.œJœ˙˙˙˙21&&&9.œJœ9˙˙˙9˙.œJœ˙˙˙˙.œJœ˙˙˙˙.œJœ˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙&&&17.œJœ17˙˙˙17˙.œJœ˙˙˙˙.œJœ˙˙˙˙.œJœ˙˙˙˙4œœ˙˙˙˙2 œ œ˙˙˙˙œœ˙˙˙˙œ œ˙˙˙˙&&&25.œJœ25˙˙˙#25˙42II.œJœ˙˙˙#˙42.œJœ˙˙˙#˙.œJœ˙˙˙#˙œœ˙˙˙˙œ œ˙˙˙˙œœ˙˙˙˙œ œ˙˙˙˙Largo27. This piece can be played with one or more persons to a part, or feature one guitarist on the ﬁrst part in the concerto style.Antonio VivaldiAUDIO TRACKS 29, 30 , 31mp means mezzo piano or "moderately soft". Not as quiet as piano which is more quiet.

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& 42˙˙˙˙P˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙&9˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙&17˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙&25˙˙˙˙# ˙˙˙˙# ˙˙˙˙# ˙˙˙˙#˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙&33˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙&41˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙&49˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙3˙˙˙˙˙˙˙˙&59˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙˙Largo (Gtr. 2)29. This four note-chord version of the 2nd part to Largo may be added to expand development of chord playing.Antonio VivaldiPluck all notes simultaneously using p-i-m-a in performance.To learn the notes in each chord you may play each note individually from the bottom up using p-i-m-a in an eighth note pattern.

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& œ œ# œn œ#0 1 0 1Ex. 1 Play each measure four times slowly.œœœœ0 2 0 2œœ#œœ0 3 0 3œœœœ0 4 0 4&œœœœ4 0 4 0œ#œœœ3 0 3 0œœœœ2 0 2 0œ# œn œ# œn1 0 1 0&œœœœ0 1 0 1Ex. 2 Play each measure four times slowly.œœœœ0 2 0 2œœœœ3 0 3 0œœœœ3 1 3 1LegatosLegato technique in guitar playing refers to hammer-on's and pull-off's. It is an important feature in all guitar playing as it adds a fluidity of sound and motion that is needed to be fully expressive.Hammer-on's require the player to pluck a note and snap down with the left hand on a higher fret to create a second note.Pull-offs are created by plucking a fretted note and pulling off to a lower note. 30.Preparation study for "Serenade".In Ex.2 the actual legato patterns in the next piece "Serenade" are presented as a preparation study.In Ex.1 a chromatic scale is used to play hammer-ons and pull-offs. Play each measure four times slowly on the third string. After you are playing it on the third string smoothly, practice it on the second and ﬁrst string. Eventually legato studies should be practiced on the bass strings also.

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& 44‰œœœ˙wGtr. 1, 2, 3Moderato(Moderate in tempo, not too fast)Intro‰œœœ˙w‰œœœ˙w‰œœœ˙w&‰œœœ˙w‰œœœ˙w‰œœœœœwww&&&‰œœœ˙wŒœœ˙w‰œœœ˙w‰œœœ˙wŒœœ˙w‰œœœ˙w‰œœœ˙wŒœœœœw‰œœœœœw‰œœœ˙wŒœœ˙w‰œœœ˙w&&&‰œœœ˙wŒœœ˙w‰œœœ˙w‰œœœ˙wŒœœ˙w‰œœœ˙w‰œœœœœwŒœœœœw‰œœœœœwwwwwwwSerenadePractice each part first without the legatos and then with legatos. This piece can also be performed without the legatos if it seems appropriate for the student(s) in a particular class. Repeat scheme: switch parts between players in the second page when it repeats.31.Serenade can also be played as a duet between two players or groups using parts 1&2 or 1&3. In this case players may want to skip the intro. As a trio the introduction can be played by all three players or groups of players, then have players split off to the other parts. If it is a large group, then you may want only the guitar 1 players on the intro.AUDIO TRACK 32

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&#43œœœ24œœœœœœ434œœœ3œœœœœœ4.˙2&#43œœœœœœi m a m i.˙pœœœœœœ.˙ œœœœœœ.˙3œœœœœœ.˙3œœœœœœ.˙21&#6œœœœœœ.˙ œœœœœœ.˙3œœœœœœ.˙œœœœœœ.˙4œœœœœœ.˙&#11œœœœœœ.˙ œœœœœœ.˙œœœœœœ.˙œœœœœœ.˙œœœœœœ.˙.˙.˙&#17œœœœœœ.˙œœœœœœ.˙2œœœœœœ.˙4œœœœœœ.˙œœœœœœ.˙&#22œœœœœœ.˙œœœœœœ.˙ œœœœœœ.˙œœœœœœ.˙&#26œ œœœœœ.˙4 0œœœœœœ.˙1œœœœœœ.˙4œœœœœœ.˙œœœœœœ.˙.˙.˙Etude No. 2Etude No. 2 is in the key of E minor which has an F# throughout. The F# is indicated at the beginning of eachmeasure. Although the F# is only indicated on the top line of the staff, all F's are sharp anywhere on the staff including the bottom space. Play the E minor scale before learning Etude No. 2. Note: Make sure you use the fourth finger on the fourth fret to play the F# on the fourth string.The scale is fingered the way notes are played in the etude. Etude No. 2Note: Measure 26 has a "G" on the fourth string (5th fret) that sustains over the open "G" on the third string. 33.AUDIO TRACKS 33, 34, 35

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&cœœœœp2ima~2`~+6 5 4 3 2 1_+Primers~Ex. 1E minPlay each two bar exercise twice.E G B Ewwwwiœœœœ21~`~2`+6 5 4 3 2 1_1CEx. 2+E G C Ewwwwiœœœœ!23101`3`2`~+6 5 4 3 2 1A minEx. 3_+E A C Ewwww!i& 86œœœœœœp imamiE minAccompaniment I to "Phrygian Song"2œœœœœœ2œœœœœœC1œœœœœœ&..œœœœœœA min231œœœœœœœœœœœœC21œœœœœœ....˙˙˙˙E mini2& 86....œœœœ....œœœœ!Ex. 3Accompaniment II to "Phrygian Song"pimaE min2....œœœœ....œœœœ....œœœœ....œœœœC21....œœœœ....œœœœ&......œœœœ....œœœœA min231....œœœœ....œœœœ....œœœœ....œœœœC21....œœœœ....œœœœ....˙˙˙˙E min2iC Majoron 4 strings1.A minoron 4 stringsE minor on 4 Strings

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& 44œœœœ ˙˙˙˙i ma1`~D minPlay each 2 bar exercise twice._++``24p241D minoron 4 StringsEx. 1D A D Fœœœœ ˙˙˙˙Dmin/F_++````32413241D/F minoron 4 StringsEx. 2Ex. 3F A D Fœœœœ ˙˙˙˙1~`~2`1C_++2C Majoron 4 StringsE G C EEx. 4œœœœ ˙˙˙˙+_A min`31`~`21+23A minoron 4 StringsE A C EEx. 5œœœœ ˙˙˙˙21D min4& 86œœœœœœi m a m iD minpAccompaniment to Dorian MelodiesœœœœœœD min/F3œœœœœœCœœœœœœA min&..œœœœœœD minœœœœœœDmin/F3œœœœœœCœœœ....œœœœD min&œ œœœœœDorian Melody ID minœ œœœœœD min/Fœ œœœœœCœ œœ.œA min&œ œœœœœD minœ œœœœœD min/Fœ œœœœœC.˙D min&œœœœœœDorian Melody IID minœœœœœœD min/FœœœœœœCœœœœœœA min&œœœœœœD minœœœœœœDmin/FœœœœœœC.˙D minPrimers3.

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&œœ#œœp i ma~~1`E G# B E`6 5 4 3 2 1+_Primer21+2wwww#plucked chord&cœœœœ ˙˙˙˙A minPlay each 2 bar exercise twice.Ex. 1Ex. 2i mapAccompaniment I to "Aeolian Melody"œœ#œœ ˙˙˙˙EEx. 3œœœœ ˙˙˙˙DminEx. 4œœœœ ˙˙˙˙A min&c..œœœœœœœœœœœœœœœœAccompaniment II to "Aeolian Melody"A minœœœœ#œœœœœœœœœœœœEDmin(plucked chords)œœœœœœœœœœœœœœœœœœœœ#œœœœœœœœœœœœEwwwwA min&..œœœœœœœœA minAeolian Melodyp i m iaim iœœ#œœœœœœEœœœœœœœœDminœœ#œœœœœœEwwwwA min&..œœœœœœœA minœ#œœœœœœEœœœœœœœœDminœ#œœœœœœEwwwwA min4.E Major on 4 Strings

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&œœœœ˙˙˙˙˙!23113``~+6 5 4 3 2 1A min_`2Ex. 1Play each 2 bar exercise twice.A E A C E~œœœœ˙˙˙˙˙_Ex. 212`2`1+~~6 5 4 3 2 1~B E G B Eœœœœ˙˙˙˙˙1~~1C_Ex. 33+```236 5 4 3 2 1C E G C Eœœœœ˙˙˙˙˙E min12wwwwwA min&cœœœœœœœœi m a i m aAccompaniment to "Aeolian Scale Melody"A minpp231œœœœœœœœE min12œœœœœœœœC321œœœœœœœœE min12&œœœœœœœœA minœœœœœœœœE minœœœœœœœœCœœœœœœœœE minwwwwwA min&œœœœœœœœAeolian Scale MelodyA minœœœœœœœœE minœœœœœœœœA minœœœœœœœœ&œœœœœœœœA minœœœœœœœœE minœœœœœœœœCœœœœœœœœE minwA minC Majoron 5 strings5.A minoron 5 stringsE minor on 5 StringsPrimers

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&cœœœœpima1`~~~B D G B F2`6 5 4 3 2 1+_Primer2~wwwwwgggggpStrum with thumb1&c..œœœœ˙˙˙˙˙gggggp im apAccompaniment I to "Ionian Melody I & II"C312œœœœ˙˙˙˙˙gggggpG7/B21œœœœ˙˙˙˙˙gggggpA min231œœœœ˙˙˙˙˙gggggpG7/B21wwwwwgggggpC&c..˙˙˙˙˙ggggg˙˙˙˙˙ggggp pAccompaniment II to "Ionian Melody I & II"C˙˙˙˙˙gggggg˙˙˙˙˙gggggG7/B˙˙˙˙˙gggggg˙˙˙˙˙ggggggA min˙˙˙˙˙ggggg˙˙˙˙˙gggggG7/B Cwwwwwggggg&cœœœœ˙Ionian Melody ICG7/Bœœœœ˙œœœœ˙A minœœœœ˙G7/B&œœœœ˙Cœœœœ˙G7/Bœœœœ˙A minœœœœœœœœG7/BCw&˙ œœœœIonian Melody IIC˙ œœœœG7/B˙ œœœœA min˙ œœœœG7/B&˙ œœœœC˙ œœœœA minG7/B˙ œœœœ˙ œœCG7/BwG7on 5 strings6.

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&cœœœœp i m a1`~~2`G B D G B F6 5 4 3 2 13_`Primer32~wwwwwwggggggpStrum with thumb1&c..œœœœ˙˙˙˙˙gggggpim apAccompaniment II to "Ionian Scale Song"Accompaniment I to "Ionian Scale Song"321C G7œœœœ˙˙˙˙˙˙ggggggp321œœœœ˙˙˙˙˙ggggggp231A minœœœœ˙˙˙˙˙˙ggggggp321G7wwwwwgggggpC&c..˙˙˙˙˙ggggg˙˙˙˙˙gggggpCp˙˙˙˙˙˙gggggg˙˙˙˙˙˙ggggggG7˙˙˙˙˙gggggg˙˙˙˙˙ggggggA min˙˙˙˙˙˙gggggg˙˙˙˙˙˙ggggggG7wwwwwgggggC&c..œœœœœœœœIonian Scale SongCœœœœœœœœG7œœœœœœœœA minœœœœœœœœG7wCG7on 6 strings7.

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&cœœœœp2i m a4`~~~ B D G B G2`6 5 4 3 2 1_+wwwwwggggggpStrum with thumb4&c..œœœœ˙˙˙˙˙gggggp imapAccompaniment I to "C Major Scale Song"Accompaniment II to "C Major Scale Song"321Cœœœœ˙˙˙˙˙ggggggp24G/Bœœœœ˙˙˙˙˙ggggggp213Aminœœœœ˙˙˙˙˙ggggggp24G/BCwwwwwgggggpC&c..˙˙˙˙˙ggggg˙˙˙˙˙gggggp pC Major Scale SongC G/B˙˙˙˙˙ggggg˙˙˙˙˙gggggAmin˙˙˙˙˙gggggg˙˙˙˙˙ggggggG/B˙˙˙˙˙ggggg˙˙˙˙˙gggggwwwwwggggg&œœœœ˙Cœœœœ˙G/B Aminœœœœ˙œœœœœœœG/BC&..œœœœ˙Cœœœœ˙G/B AminœœœœœœœœG/BœœœœœœœœwG Majoron 5 strings8.Primer

Guitar Academy Part II

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