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Audio Practice Tracks Included

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Introduction**Guitar*Interact*Part*III*Beyond*the*Fundamentals**Part*III*of*Guitar*Interact*takes*students*into*a*new*experience*in*musical*development*in*guitar*playing*through*highly*focused*goals,*flexible*arrangements*for*individuals*and*groups.**In*Part*I*of*Guitar*Interact*“Laying*the*Foundation”,*students*learn*fundamental*music*and*guitar*skills*in*an*interactive*format.*In*Part*II*“Expanding*the*Fundamentals”,*the*player*deepens*and*expands*fundamental*abilities*in*solo*and*ensemble*playing*as*well*as*harmonic*development*and*physical*strength*and*flexibility.**Part*III*takes*students*to*a*new*level*of*experience*by*further*development*of*right*hand*techniques*and*stylistic*elements*through*the*progression*of*sharp*keys*up*to*four*sharps.*It*continues*to*provide*an*interactive*format*that*also*prepares*a*student*for*solo*playing*as*well.***Part*III*also*expands*fretboard*knowledge*with*additional*parts*that*move*outside*of*first*position.*Some*of*the*materials*are*derived*from*solo*classical*pieces*by*Carcassi,*Sor*and*Giuliani,*but*presented*as*ensemble*pieces*so*that*the*student*can*master*the*basic*elements*of*solo*repertoire.**As*in*the*previous*material,*teachers*should*use*a*flexible*approach*as*the*pieces*in*Part*III*also*provide*ideas*for*application*in*classes*or*lessons.*Prep*studies*again*are*used*to*get*students*ready*for*the*essential*elements*in*each*new*work.***Although*Part*III*has*very*focused*purposes*it*also*provides*aesthetically*rewarding*music*that*is*key*to*any*experience*in*music*study*and*performance.****

!!!!!!!!"#$%&!!'( )*+,-#./0!1( 2!3*4-+!5676869!:%;0(!!9( <+%;!=-+!>?*#$%+.#@A!8( <+%;!=-+!>BCD$%!.#!2!3*4-+A!!!!!!!!!!!7(!E!5(!?*#$%+.#@!F+.-!G(!BCD$%!.#!2!3*4-+!H( IC*//*C-!F%/J#.KD%!!!!!!!!!!!L(!E!M(!N+.%#C*O!P-OQ!I-#@!R(!FJ%!S%T!-=!U!3*4-+!9V(!WD*+C%C!.#!U!3*4-+!99(!BCD$%!.#!U!3*4-+!!98(!FJ%,%!*#$!X*+.*C.-#0!97(!!<+%;!=-+!>ICD$T!.#!'!!!!!!!!!!!!!!!,.#-+A!Y!>1OD%0!#-(!"""A!95(!!I%/-#$!<-0.C.-#!Y!!!!!!!!!!1OD%0!#-(!"""!!9G(!E!9H(!!ICD$T!.#!'!,.#-+!9L(!E!9M(!!1OD%0!#-(!"""!9R(!E!8V(!!FJ%!F.OO%+Z0!I-#@!89(!FJ%!S%T!-=!'!3*4-+!!88(!BCD$%!.#!'!3*4-+!87(!<+%;!ICD$.%0!=-+!!!!!!!!!>3*+/J !.# !' !3*4-+A!85(!3*+/J!.#!'!3*4-+!8G(!FJ%!S%T!-=!B!3*4-+!!!8H(!BCD$%!.#!B!3*4-+!8L(!<+%;!ICD$.%0!=-+!!!!!!!!!!!!>I.,;O./.CTA!8M(!<+%;!=-+!>I*QD+*A!!!!!!!!!!!8R(!E!7V(!I.,;O./.CT!79(!E!78(!I*QD+*!!!!!!![J-+$!ID;;O%,%#C!!!!!!!!!!!!!!!!!!!!!!9(!E!8(![J-+$0!.#!2!3*4-+!7(!E!5(![J-+$0!.#!U!3*4-+!G(!E!H(![J-+$0!.#!'!3*4-+!L(!E!M(![J-+$0!.#!B!3*4-+!!! !!!!!!!!!

&wE61. Play each of the open strings.wA5wD4wG3wB2wE1&wE2. Play each string at the 12th fret.wAwDwGwBwE&·E3. Lightly touch each string directly over the 12th fret metal. The harmonics sound the same notes.·A·DOG·B·E&wA4. 5th fret notes. Play each note at the 5th fret.wDwGwCwEwA&·5. 5th fret harmonics. Lightly touch each string over the 5th fret. Notes sound an octave higher than 12th fret harmonics.√·····&wB6. 7th fret notes. Play each note at the 7th fret.wEwAwDw#F#wB&·7. 7th fret harmonics. Lightly touch each string over the 7th fret. Same notes sound an octave higher.√····#·HarmonicsHarmonics are one of the most beautiful sounds the guitar can make. The bell-like tones are an essential part of guitar playing. There are two types of harmonics, natural and artificial. Natural harmonics are the simplest and should be learned before attempting artificial harmonics.Natural Harmonics are played by plucking a note and touching very lightly on the same string at the fifth, seventh or twelfth frets. The left hand finger must also touch directly over the actual metal of the fret. By following the steps below you can begin the process of learning harmonics.A.

&# www242&#442œ œ œ œœ œ œ œm i m i m i m iG Major Scale - upper octaveœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ2&#œ œ œ œœ œ œ œ2œ 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 iœœœœœœœœœœœœ3 333m i m i m i m i m i m i2œœœœœœœœœœœœ333 3m i m i m i m i m i m i2œœœœœœœœœœœœ333 3m 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 œ2œ œœ œœ œœ œ2œ œœ œœ œœ œ&#œœœœm i m iœœœœ2œœœœ2œœœœ w&#œœœœG Major Scale - lower octaveœœœœ4œœœœ4œœœœ w&#œœœœE Minor Scale - upper octave4œœœœ œœœœœœœœ4w&#œœœœE Minor Scale - lower octave2œœœœ œœœœœœœœ2wKey of G MajorAlternating 4-3-2-1 RepititionsUsing this pattern of repetitions with scales is a great way to further develop the important skill of alternating.The 4-3-2-1 pattern should be used on all the scales in this book. It also helps develop the left hand as well.B.Practice the following scales using the 4-3-2-1 Reps. always end with the single note scale with alternating.The key of G Major has one sharp which is indicated at the beginning of each line as a "key signature".This means that all F's are raised to F#.F# - 1st string, second fret 4th string, fourth fret 6th string, second fret

&#cœœœœm i m i1.2œœœœ2.2œœœœ3.œœœœ4.œœœœ5.œœœœ6.w& 43œ œ œ1 2 3 .˙ œ œ œœ1 2 3 +.˙.œJœœœ1 2 + 3 +.œJœ œ ˙ œ œ&#.œJœ œ œ ˙ œ.œJœ œ.œJœ œ.˙&#cœœœœœœœœœœœœEmin Aminim1.1a2œœœœœœœœœœœœD G3241œœœœœœœœœœœœD Amin3211 2wwwEmin&#43Œœœœœœœ2.Œœœœœœœ4Œœœœœœœ321Œœœœœœœ12&#Œœœœœœœ.˙3.Œœœœœœœ.˙4Œœœœœœœ.˙321Œœœœœœœ.˙121.Prep Studies for "Wandering"Play each exercise 4 x's using alternating.Approach the following exercise using the following steps:1. Complete diagramming the rhythm in measures 6-12.2. Play the rhythm with one finger.3. Play the rhythm with alternating the right hand fingers.Each of the next exercises is a preparation for the chord accompaniment part to our next ensemble piece on the following page. Repeat each one four or more times.

&#cœœ˙G/D0Frets:000432Study No. 1 œœ˙Amin/E2231œœ˙4Bmin/F#312œœ˙5C/G234&#œœ˙7D/A234œœ˙9Emin/B231œœ˙7D/A234œœ˙5C/G234&#œœ˙4Bmin/F#312œœ˙2Amin/E231œœ˙0G/D000&#wwwG0000Study No. 2Frets:wwwAmin2231wwwBmin4231wwwC5342wwwD7234wwwEmin9231&# wwwD7234wwwC5342wwwBmin4231wwwAmin2231wwwG0000Preparation for "Etude in G Major" by Fernando SorChords in Major and minor keys are available for each scale degree. The second part of Etude in G Major onpage 5 is made of chords based on the G Major scale. The three note chords move in parallel on strings 2, 3 and 4 with the 2nd and 3rd fingers moving together on the same fret. 2.The trio on page 5 is an arrangement of a solo piece from Fernando Sor's "Complete Method for SpanishGuitar". Spanish guitarist and composer Fernando Sor is often called the "Beethoven of Guitar" as his works show a wide range of dynamic expression similar to Ludwig Von Beethoven who was one of Sor's classical era contemporaries. His studies are considered standard repertoire by many teachers and students today.

&#43..Œœœœœœœ.˙q»ª§Guitar 3 - Intro%Œœœœœœœ.˙4Œœœœœœœ.˙231Œœœœœœœ.˙&&&###............5˙ œ˙ œŒœœœœœœ.˙˙ œ˙ œŒœœœœœœ.˙14.œJœœ˙ œŒœœœœœœ.˙2231.˙.˙Œœœœœœœ.˙&&&###9˙ œ˙ œŒœœœœœœ.˙˙ œ˙ œŒœœœœœœ.˙4.œJœœ.œJœœŒœœœœœœ.˙˙œ˙ œŒœœœœœœ.˙231&&&###............13˙ œ˙ œŒœœœœœœ.˙˙ œ˙ œŒœœœœœœ.˙14.œJœœ˙ œŒœœœœœœ.˙2231.˙.˙Œœœœœœœ.˙Wandering Trio3.This trio can be played once through, or by observing the D.S. al fine at measure 31 played twice beginning again at measure 2 of the intro. At this point parts 1 and 2 can switch, or parts 1 or 2 with the 3rd part. Allrepeats should be observed the second time through.CD TRACK 1, 2, 3

&&&###17.œJœœ.œJœœŒœœœœœœ.˙˙œœ˙œœŒœœœœœœ.˙231.œJœœœ.œJœœœŒœœœœœœ.˙4˙œ.˙Œœœœœœœ.˙&&&###21.œJœœ.œJœœŒœœœœœœ.˙˙œ˙ œŒœœœœœœ.˙231.˙.˙Œœœœœœœ.˙!!Œœœœœœœ.˙&&&###25.œJœœ.œJœœŒœœœœœœ.˙˙œœ˙œœŒœœœœœœ.˙231.œJœœœ.œJœœœŒœœœœœœ.˙4˙œ.˙Œœœœœœœ.˙&&&###............29.œJœœ.œJœœŒœœœœœœ.˙.œJœœ˙ œŒœœœœœœ.˙1.D.S. al Fine.˙D.S. al Fine˙ ŒD.S. al FineŒœœœœœœ.˙!!Œœœœœœœ.˙2..˙Œ‚‚.˙Œ‚‚Œœœœœœœ.˙Har. XIIHar. VFine...OOOFine...OOOFine...˙˙˙.˙4.

&&&###444444œœœœwwwGw000œœœœwwwAminw231œœœœwwwBminw231œœœœwwwCw342œœœœwwwDw234&&&###6œœœœ6wwwEmin6w231œœœœwwwDw234œœœœwwwCw342œœœœwwwBminw231œœœœwwwAminw231&&&###11œœœœ11wwwG11w000œœœœwwwD7w421wwwEminœœ#œœnw210œ# œn œ#œA#dimww#w#w4134302wwwGœœ#œœw442&&&###........16wwwD716œœœœ16w2213wwwGw˙˙4..˙jœw˙˙1 2 3 4 +Second dot = 1/8 note˙Ó˙Ó˙Ó˙˙˙Ó˙˙˙Ó˙Ó2Etude in G Major Fernando Sor 1778 – 18395.This trio can also be played as a duo between the 1st and 2nd parts switching parts at the repeat.CD TRACK 4, 5, 6

& 44œ.œ.œ.œ.Ex. 1œ.œ.œ.œ.&œ.œ.œ.œ.œ.œ.œ.œ.&œ#.œ.œ.œ.œ#.œ.œ.œ.&œ.œ.œ.œ.œ.œ.œ.œ.&œ#.œ.œ.œ.œ#.œ.œ.œ.&œ.œ.œ.œ.Ex. 2œ.œ.œ#.œ.Staccato TechniqueThe upcoming piece Oriental Folk Song incorporates a technique called "staccato", which is a shortenednote. The timing of a staccato note is the same, but the sound of the note is cut off creating a distinctive sound.There are two main ways to make a staccato note:1. By abruptly letting off with a left hand finger on a fretted note.2. Stopping the note with a right hand finger on either a fretted note or an open note.Make staccato notes on the "E" below by quickly putting the thumb back down to stop each note.On the "F,F#,G and G# " make the staccato by quickly letting off the first finger of the left hand.In this "G" scale use a combination of stopping the open notes and letting off the fretted notes.6.

&&##cc....∑œ.œ.œ.œ.q»80 - 92∑œ.œ.œ.œ.∑œ.œ.œ.œ.∑œ.œ.œ.œ.&&##5œœ˙œœœœ‰œJœ1 + 2 + 3 !!+!!4 +5œ.œ.œ.œ.imp p p piœœ˙œœœœ‰œJœœ.œ.œ.œ.œœœœœœœœœœœœœ.œ.œ.œ.im i4m2œœ˙œœœœ‰œJœœ.œ.œ.œ.&&##9œœœœœœœœœœœœ9jœœ.jœœ.œ.imimœœ˙œœœœ‰œJœjœœ.jœœ.œ.imiœœœœœœœœœœœœjœœ.jœœ.œ.i m imœœ˙œœœœ‰œJœ1 + 2 + 3 !!+!!4 +œ.œ.œ.œ.imp p p piTo play the solo part (guitar one), first practice the melody (stem's up notes) making sure all the left and right hand fingerings are secure before adding the thumb notes.Players of the second part should learn it first without staccatos adding them after the part is secure.Note: All the G's on the third string are to be played with the thumb (p) as indicated as well as the D's on fourth string. Oriental Folk Song7. Oriental Folk Song can be played as a solo by just playing the first part, or as a duet between two players ortwo groups of players. CD TRACK 7, 8, 9

&&##13œœ˙œœœœ‰œJœ13œ.œ.œ.œ.œœœœœœœœœœœœœ.œ.œ.œ.im i4m2œœ˙œœœœ‰œJœœ.œ.œ.œ.œœœœœœœœœœœœjœœ.jœœ.œ.imim&&##17œœ˙œœœœ‰œJœ17jœœ.jœœ.œ.imiœœœœœœœœœœœœjœœ.jœœ.œ.i m imœœ˙œœœœ‰œJœœ.œ.œ.œ.iœœ˙œœœœ‰œJœœ.œ.œ.œ.&&##21œœœœœœœœœœœœ21œ.œ.œ.œ.œœ˙œœœœ‰œJœœ.œ.œ.œ.œœœœœœœœœœœœjœœ.jœœ.œ.iœœ˙œœœœ‰œJœjœœ.jœœ.œ.&&##....25œœœœœœœœœœœœ25jœœ.jœœ.œ.m iœœœœœœœœœœœœw3mi4wwwœ.œ.œ.œ.pim4∑œ.œ.œ.œ.∑w8.

&w#2C Sharp&##œœœœPractice the D Major scale using the 4, 3, 2, 1 alternating repetitions from page one.Make sure to use the left hand fingerings indicated.24œœœœ2œœœœ2œœœœ42&##œœœœ21. mi m iœœœœ22.œœœœ3.(two measures)œœœœ&##œœœœ24.œœœœ25.œœœœ6.2œœœœ7.2&##œœœœdo re mi fa1. D Major Scale Preparatory ExercisesPlay each exercise 4 times. Use m-i alternating for the right hand.2œœœœmi re do ti2wdoœœœœdo ti la so2. 2œœœœfa so la ti2wdo9.The Key of D MajorWith the addition of C#, the key of G Major becomes D Major. Whenever an additional sharp is addedA new key is established a fifth (five notes) higher. Play each exercise four times. Use alternating (m-i) in each exercise.C# - 2nd string , second fret

&&&&########cccc............!!˙œœœœœœœq»¡∞º132 1 2Pull-off!!œœœœœœœœ1 0Hammer-on!!˙œœœœœœœ21 2!!œœœœœœœœ3 0&&&&########5œœœœ5˙œœ5˙œœœ5œœœœ2˙˙˙˙œœœœœœœœœœ˙˙˙˙œœœœœœœœœ˙wœœœœœœœœ2&&&&########............9œœœœ9˙œœ9˙œœœ9œœœœ˙˙˙˙œœœœœœœœœœ œœ˙˙˙œœœœœœœwwœœœœœœœœ!w!wQuartet in D Major10.This quartet can be played as a duet between a player or players on part 1 then part 2 on the repeat at measure 12; with players on parts 3 or 4 as an accompaniment part. It may also be played as a trio between parts 1 and 2 with either 3 or 4 as the 3rd part. As a quartet it can be played also by starting with the 4th part (3rd part on the intro repeat) and adding a new part at each time until all four parts have played. Note: The pull-off and hammer -on is played in one motion striking the "D" once with the right hand finger. CD TRACK 10, 11, 12

&##43œœœD/A132p i mEx. 1...˙˙˙pimœœœG4...˙˙˙œœœD/A...˙˙˙ œœœA12˙˙˙D/A&##42..œœœœDEx. 2œœœœœœœœœœœœœœœœAœœœœœœœœœœœœ˙˙˙D&##..œœœœDEx. 3œœœœœœœœœœœœœœœœAœœœœœœœœœœœœ˙˙˙D&&####JœœœœœœœJœœœœœœœq»¶§213m p ip3m p1ipJœœœœœœœJœœœœœœœœœœœœœœœœœœœ21œœ œ œœœœœœœ3mpp1iJœœœœœœœJœœœœœœœmJœœœœœœœJœœœœœœœœœœœœœœœœœœœ21œœœœ œœœœœœ3&&####....œœœœœœœœœœ2 3œœ œ œœœ œ œœœœœœœœœœœœœœ œ œœœ œ œœjœœœœœJœœœœœœœjœœœœœJœœœœœœœœœœœœœœœœœœœœœœœœPrep for Etude in D MajorEtude in D Major11.Each part of this etude can be played as a solo or a duo between two players or groups of players. The parts should first be learned without the hammer-ons. The hammer-ons e should be played on the beat.CD TRACK 13, 14, 15

&##cœœœœœœœœœœœœThemeipm i mq»ª§321œœœœœœœœœœœœ24œœœœœœœœœœœœœœœœœœœœœœœœ2&##œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ˙œœœœ˙&##œœœœœœœœœœœœVar. 1œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ&##œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ˙1&##.œjœœœœœ œœœœœœVar. 2mi mi.œjœœœœœ œœœœœœ.œjœœœœœ œœœœœœ.œjœœœœœ œœœœœœ&##.œjœœœœœ œœœœœœ.œjœœœœœ œœœœœœ.œjœœœœœ œœœœœœ.œjœ˙œœ œœ12.Theme and Variations A theme and variations is a style of composition that states a theme and then restates the theme in a new wayby adding notes or changing (varying) the theme. In this piece the theme is changed in Variation 1 by addingmore bass notes. In Variation 2 the same notes added in Variation 1 are restated in a new rhythm pattern.This solo piece can also be played as a round by two or three players (or groups of players) by having each player or group of players enter after the previous player(s) finish the theme until all groups have played allthree sections.CD TRACK 16, 17, 18

&œœ˙Ex.142œœ˙Ex.24œ œœ œEx. 34œœ˙Ex. 44&#83œœœ œ œ œ1 + 2 + 3 +00p imi m iœœœ œ œ œœœœœœœpi m m iaœœœœœœ&#œœœ.jœp imœœœ.jœp i mœ#œœ.jœp imœ#œœ.jœp im&#84œœœœEminStudy No. IMeasures 1-8 of Blues No. III2˙˙˙˙œ#œœœGA u g1˙˙˙˙#G9œnœœœ ˙˙˙˙œ#œœœC#dim 74˙˙˙˙#&#œœœœAm in/CMeasures 17-20321˙˙˙˙œœœœAm in˙˙˙˙œœœœB7234˙˙˙˙B7/D#œ#œœœ1˙˙˙˙#&#œœœœ œœœœ œ32pivot on second fingerStudy No. IIœœœœ œœœœ œ21œœœœ œœœœ œ2œœœœ œœœœ œ3Prep Studies for Study in A minor / Blues no. III13.The following studies layout the harmonic patterns for Blues No. III3/8 Time with 16th notes: three beats to a measure, eighth note = one beat. The following exercises layout the left hand patterns for Study in A minor playing "B" on the 3rd string.Ex.1 The right hand pattern for Study in A minor. Ex. 2 The right hand pattern for Blues No. III.Play the following two exercises repeatedly to prepare the right hand for the next two pieces. Apply the following right hand pattern to simplify learning the left hand content of Study in A minor.

&#cœœœœ4 3134 1Ex.1œœœœ23424œœœœ11244œœœœ24214œœœœ32431œœ˙443 1&#œœœœ60124Ex. 2œœœœ415241œœœœ33413œœœœ41431œœœœ54214œœ˙621&#˙˙Example 414˙˙313˙˙2 323˙˙41 4w1&#œœœœUpper range E-pentaonic scale.4 31413Ex. 3œœœœLearn this scale before playing the 1st part to Blues No. III2 12424œœœœ24424œœœœ342314w1&#œœœœLower range E-pentatonic scale.6 50241Ex. 4œœœœ431414œœœœ43 141œœœœ5 64142w0Second Position / Blues no. III Second position encompasses the notes played on frets two through five. The following E minor scales should be learned in second position observing the fingerings to prepare for the first part to Blues no. III.The Pentatonic ScalePentatonic scales are five-note scales; the term is derived from the word "pente" meaning five (ancient Greek).In the example below are the five notes of an "E-pentatonic" scale. It is followed by the same scale extended into the higher range and one that encompasses the lower range of the guitar.14.

&&8383œœœ œ œ œ.œœœœ œ œ œ.œppiimmiimmii2q»ª§231œœœ œ œ œ.œœœœ œ œ œ.œœ#œœ œ œ œœ#œœ#œ œ œ œ.œ21œ#œœ œ œ œ.œ#œœ#œ œ œ œ.œAgaudo 1784 to 1849&&5œœœ œ œ œ.œ5œœ#œ œ œ œ.œ43œœœ œ œ œ.œœœ#œ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œ231œœœ œ œ œ.œœœœ œ œ œ.œ&&9œœœ œ œ œ.œ9œœœ œ œ œ.œœœ#œ œ œ œ.œœœœ# œ œ œ.œ223œœœ œ œ œ.œœœœ œ œ œ.œ241213œœœ œ œ œ.œœœœ œ œ œ.œ03&&13œœœ œ œ œ.œ13œœœ œ œ œ.œœ#œœ œ œ œ.œ#œœ#œ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œ.œ.œStudy in A minor 15.This piece is important to develop even articulation of alternating patterns. Study in A minor can be played by one or two players or groups of players. Players can switch parts at the repeat. Note: In measure 4 of guitar one the player should prepare to place the "B and D" of measure five. Also in guitar two measures 9-12 use guide fingers that are important for chord transitions.This duo was taken from a solo work by Dionisio Aguado a Spanish guitarist and classical era composer.CD TRACK 19, 20, 21

&&17œœœ œ œ œ.œ17œœœ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œ4œœœ œ œ œ.œœœœ œ œ œ.œ34&&21œœœ œ œ œ.œ21œœœ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œ4œœœ œ œ œ.œœœœ œ œ œ.œ34&&25œœœ œ œ œ.œ25œœœ œ œ œ.œœ#œœ œ œ œ.œ#œœ#œ œ œ œ.œ1421œœœ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œ&&....29œœœ œ œ œ.œ29œœœ œ œ œ.œœœœ œ œ œ.œœœ#œ œ œ œ.œœœœ œ œ œ.œœœœ œ œ œ.œ231.œ.œ16.

&&&838383∑œœœœœœ.œ.œe»§¢00020∑œ#œœœœœœ#.œ#11∑œœœœœœ.œ.œ02∑œ#œœœœœ.œ#.œ44∑œœœœœœ.œ.œ321∑œœœœœœ.œ.œ&&&........7∑7œœœœ#œœ.œ7.œ2_```~B73`42Œ œœœ#œœœ#œœ.œ#.œ#1132œ œœœœœœœœ.œ.œ0004œœœœ#œœœœœœ#.œ#11341œœœœœœœœœ.œ.œ0231 4œœœœ#œœœœœ.œ#.œ44132&&&13œ œœ13œœœœœœ.œ13.œ0024œœœœ#œœœœœœ#.œ#11341œœœœœœœœœ.œ.œ0231 4œ œœœ#œœœœœ.œ#.œ4414œ œœœœœœœœ.œ.œ3214œ œœœœœœœœ.œ.œ12114&&&19œ œœ19œœœœœœ.œ19.œ221 4jœjœjœœœœœœœ.œ.œ041.œœœœœ#œœ.œ.œ23B7423∑œ#œœœ#œœ.œ#.œ#11∑œœœœ#œœ.œ.œ2Œ œœœ#œœœ#œœ.œ#.œ#13217.Blues no. IIIBlues no. III can be played as a duo between guitar one and two, or as a trio. Guitars one and two can switch parts at measure 9 after playing the first ending in measure 44. CD TRACK 22, 23, 24

&&&25œ œœ25œœœœœœ.œ25.œ004œœœœ#œœœœœœ#.œ#1134œœœœœœœœœ.œ.œ023œœœœ#œœœœœ.œ#.œ4413œ œœœœœœœœ.œ.œ004&&&30œœœ30œ#œœœœœœ#30.œ#14œœœœœœœœœ.œ.œ023.œ œœœœ#œœœœœ.œ#.œ4414 1.œœœœœœœœœœ.œ.œ032.œœœœœœœœœœ.œ.œ004 22&&&35œœœ35œœœœœœ.œ35.œ24424JœJœJœœ#œœœœœ.œ#.œ1442.œœœœœœœ.œ.œ4œ#œœœœœœ#œ#Jœ#.œ#114œœœœœœ.œ.œn.œ03œ#œœœœœ.œ#.œ#.œ42&&&........41œœœœœœ.œ41.œ41.œ3211œœœœœœ.œ.œ.œ2œœœœ#œœ.œjœ#.œ.œ232321.œ#œœœ#œœ.œ#jœ œ#œœnœ#‰2332112.œ#œœœ#œœ.œ#jœ œ#‰.œ#2321....œœœœ....œœœœ.œ18.

&&ccœœœ œ œœœœœœœ œœq»¡º•p i2m4i m i1p i2m4ipœœœ œ œœœœœœœ œœ3œœœ œ œœœœœœœœ23œœ˙œœœœ˙&&5œœœœœ œœœœœ œ œœp i2m4i m i1p i2m4ipœœœœœ œœœœœ œ œœ3œœœœœœœœœ œ œœ23œœœœ˙œœ˙&&9œœœ œ œœœœœ œ œœ4p i2m4i m i1œœœ œ œœœœœ œ œœ343œœœ œ œœœœœ œ œœ202œœ˙œœ˙&&13œœœœœ œœœœœ œ œœ4œœœœœ œœœœœ œ œœœœœœœœœœœ œ œœœœœœ˙œœ˙The Tiller's Song19.This stark yet attractive duo is a great study in some fundamental concepts for the left and right hand. The right hand patterns develop alternating as an extension of three note arpeggios that begin each measure. The left hand patterns present a clear opportunity to target common tones between chords as they unfold. Common tones are indicated by the dotted lines showing that these notes can be kept down into the next measure. This technique both provides a more cohesive sound, but also promotes less unnecessary movement. The main goal should be to let all notes sustain as long as possible. Note: Both parts overlap with the identical material.CD TRACK 25, 26, 27

&&17œœœ œ œœœœœ œ œœp i2m4i m i14œœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œœ043œœœ œ œœœœœ œ œœ2&&21œœœ œ œœœœœ œ œœ34Hold "F" through bar2œœœœœœ#œœœœœœœœœ#œ1422œœœœœ œœœœœœ œ33&&24œœœ œ œœœœœ œ œœp i2m4i m i1œœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œœ304œœœ œ œœœœœ œ œœ2&&28œœœ œ œœœœœ œ œœ34Hold "F" through bar2œœœœœœœ#œœœœœœœ#œœ1422œœœœœ œœœœœœ œ33&&........31œœœ œ œœœœœœœ œœœœœ œ œœœœœœœ œœœœœ œ œœœœœœœœœœ˙œœœœ˙20.

&###˙˙˙(#) (#)Fret Numbers:2 4 5134Second Position II&###œœœœ(#)Higher Octave - A Major Scale2œœœœ(#)(#)13 4IIœœœœ(#)(#)œœœœ(#)&###œœœœLower Octave - A Major Scale(#)4œœœœ(#) (#)41œœœœ(#)(#)œœœœ(#)&###œ œnœ œn01 43œœ# œnœ214Key of A MajorThe key of A Major has three sharps. Like "D Major" it has F# and C# with an additional raised note G#.In the higher octave of the A Major scale the left hand must move out of first position into second position.The symbol II indicates second position and that the notes F#, G#, and A are played in the four fret region from frets 2 through 5.Play the following example before playing the scale. Note: See measures 14 and 15 in our next piece "A Major Etude".This descending chromatic scale is found in the next piece "Etude in A Major". Play it repeatedly before going to the next page. 21.

&&&#########444444œœœœww23œœœœ˙˙w1421œœœœww432œœœœ˙˙w43&&&#########5œœœœ5w5wœœœœ˙ ˙w#3œœœœww34œœœœ˙˙w&&&#########......9œœœœ9w9wœœœœ˙˙w41œœœœwwœœœœww&&&#########13œœœœ13œœ œnœ13˙ ˙10 43œ#œœœœnœœ# œn˙˙4 13II3210œœœœ˙˙w4324˙Ó˙˙˙Ó˙Ó21wwwww3wwwww4234Etude in A MajorFernando Sor22.This trio can also be played as a duo between the 1st and 2nd part, or the 1st and 3rd part. Players may switch parts at the repeat.CD TRACK 28, 29, 30

& 44œ œ œ œ œ œ œ œ1 2 3 + 4 e + aEx. 1œ œ œ œ œ œ œ œ œ œ&œ œ œ œ œ œ œ œ œ œ œ œEx. 2œ œ œ œ œ œ œ œ œ œ œ œ&.œ œ œ œ.œ œ œ œEx. 31 e + aœ œ.œ œ œ œ.œ œ&œ.œ œ œ œ œEx. 4.œ œ œ œ œ œ œ&###œœœœœœœœ2œœœœœœœœ43œœœœœœœœ32œœœœœœœœ1&###œœœœœœœœ12œœœœœœœœ43œœœœœœœœ2ww21&###..œœœœœœœœA2340œœœœœœœœE2100wwwwA3 4Prep Studies for "March in A Major"The following studies prepare players for the "March in A Major" on the next page, but also for other pieces in Part III of Guitar Academy. Play the following rhythm studies two or more times each while counting out the patterns out loud.Study in ThirdsChord Study23.

&&######4444œœ..œœœœœœ œœœœœœ21imœœ..œœœœœœ œœœœœœ431œœœœœœœœœœœœœœœœ234p imi a mœœœœœœœœ˙œœ œœœœ21pim i a imip&&######5œœ..œœœœœœ œœ5œœœœ21œœ..œœœœœœ œœœœœœ431œœœœœœœœœœœœœœœœ23421œœœœœœœœœŒœœœŒ234&&######9œœ..œœœœjœœ‰ Œ9œ.œ œœœœœ14œœ..œœœœJœœ‰ Œœ.œ œ œ œœœ124œœ#..œœœœJœœ‰ Œœ.œ œ œ œœœ142œœœ...œœœœœœJœœœ‰ Œœ.œ œœœœœ14ima&&######....13œœ..œœœœœœ œœ13œœœœœœ..œœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœŒœœœŒMarch in A MajorMatteo CarcassiThis march comes from Matteo Carcassi's "Method for Guitar, Opus 59". Although originallya solo piece, it has been arranged here as a duet. Carcassi was a guitarist and composer in the Classical Era along side such composers as Mozart and Beethoven. His works are some of the most attractive in the guitar repertoire. Have one or more players on each part switching parts on the repeat.24.CD TRACK 31, 32, 33

&####œœœœ(#)Higher Octave1242(#)œœœœ(#)(#)24œœœœ(#)(#)42œœœœ(#) (#)14 2&####œœœœLower Octave(#)4(#)2œœœœ(#) (#)412œœœœ(#)(#)142œœœœ(#)42(#)&####œ œnœ œn01 43Chromatic Scaleœœ# œnœ214&####wwwE/B2 3 1Chord Study 231wwwF#m/C#3 4 1341wwwG#m/D#2 323wwwA/E2 3 4234wwwB/F#2 3 4234wwwC#m/E2 1 3213&#### wwwB/F#2 3 4234wwwA/E2 3 4234wwwG#m/D#2 323wwwF#m/C#3 4 1341wwwE/B2 3 1132wwwB72 1 3213Prep for "Etude in E Major"Like "A Major", the key of E Major has F#, C# and G# with an additional raised note D#.Learn the higher and lower octave E Major scale before learning "Etude in E Major".This decending chromatic scale is found in the next piece "Etude in E Major". Play it repeatedly before going to the next page. 25.The following chord study is from measures 1-12 of the Etude in E Major Trio. Use a combination of readingthe notes and fingerings, and the chord charts to learn this progression. Notice that the basic chord letter names follow the E Major scale (E-F#-G#-A-B-C#).

&&&############444444œœœœwwwwE/B2311 4œœœœwwwwF#m/C#341412œœœœwwwwG#m/D#234œœœœwwwwA/E2342œœœœwwwwB/F#2344242&&&############6œœœœ6www6wC#m/E21324œœœœwwwwB/F#23441œœœœwwwwA/E234241œœœœwwwwG#m/D#234œœœœwwwwF#m/C#3412&&&############11œœœœ11www11wE/B132œœœœwwwwB 7213wwwœœ#œœnw213432œnœœœw#ww#132wwwœœ#œœw24pia&&&############........16www16œœ˙16w31423www˙˙w4..˙jœ˙˙w2˙Ó˙Ó˙Ó4˙˙˙Ó˙˙Ó˙Ó2Etude in E MajorFernando Sor26.This piece is a re-arrangement of Etude in G from page 5. Like the one in G, it can be played as a duet between the first and second parts. Players may opt to switch parts at the repeat.CD TRACK 34, 35, 36

&####44˙˙0 2011FretsEx.1˙˙4 51 2˙˙7 94 4w72&####œœœœ0 2 4 00 1 3Frets1Ex. 2œœœœ4 5 7 91 2 44w72&####˙˙7 5241Ex. 3Frets˙˙4 23 1&####œœœœ ˙˙˙E1p imaimaEx. 4œœœœ ˙˙˙A/E34œœœœ ˙˙˙EMaj734 0œœœœ ˙˙˙A/E34&####œœœœ ˙˙˙A34Ex. 5œœœœ ˙˙˙B/A341IIœœœœ ˙˙˙AMaj7321IVCœœœœ ˙˙˙A211V&####œœœœ ˙˙˙E132Ex. 6IVœœœœ ˙˙˙A/E34œœœœ ˙˙˙B/E413IICœœœœ ˙˙˙A/E211VPrep Studies for SimplicityThe unique melody and harmonies of the next work offers opportunities to expand fretboard knowledge.Practice each of the exercises before learning the parts to Simplicity. Exercises 1-3 help prepare for the first guitar part, and exercises 4-6 for the second guitar part.27.

&#44œœœœ232Ex. 1w3œœœœ24Ex. 2w1œœœœ0123Ex. 3w4&#7œ œ˙sul ponticello213vibratoVExample 1.œ œ˙œœœœ134œœœ˙U14213&#11œ œ˙sul ponticello113vibratoXIIExample 2.œ œ˙œœœœ134œœœ˙U13122&#15œ œ˙œœœœœœœœ32200 0132Example 3.œ œ˙œœœœœœœœ00210œœœœœœœœ œ œœœ00210 3202103232œœœ˙œœ œ˙0212Sakura PrepSakura is a popular Japanese folk song depicting the cherry blossoms of spring. It's melody is based on apentatonic or "five note" scale. Below the pentatonic scale is presented at the low, middle and higher range as it is used in the arrangement.Practice each exercise repeatedly.The simplicity of the Sakura melody offers some unique opportunities for the variety of sounds the guitar can make. The opening melody is presented on the second string at the fifth position making it possible to create a vibrato by bending the string in a pulsing action (listen to audio track). In addition the indication "sul ponticello"calls on the player to pluck the notes very close to the bridge causing a very thin sound. The combination of all these techniques creates a sound similar to the "Koto" a Japanese stringed instrument, which is also plucked.In the following example the melody is harmonized with a two-string figure that combines to create a rising pattern. Notice in measure three that the "B" on the third string is played against the open "B" on the secondstring. Practice this example thoroughly before playing Sakura.In the following example the opening melody is restated an octave higher on the first string. The Roman numeral XII indicates this passage is played at the twelfth position (frets 12-15). Using the sul ponticello and vibrato technique heightens the tonal contrast between the other sections.28.

&&########4444!œœœœœœœœœœœœœœœœœœœœ134Moderato {q = c 68} P!œœœœœœœœœœœœœœœœœœœœ34034!œœœœœœœœœœœœœœœœœœœœ134Ó Œœœœœœœœœœœœœœœœœœœœœœœ04F&&########5.˙œœ5œœœœœœœœœœœœœœœœœœœœ3˙‰œœœœœœœœœœœœœœœœœœœœœœœ32wœœœœœœœœœœœœœœœœœœœœ1Ó Œœœœœœœœœœœœœœœœœœœœœœœ4&&########9.˙œœ9œœœœœœœœœœœœœœœœœœœœ3˙‰œœœœœœœœœœœœœœœœœœœœœœœ243wœœœœœœœœœœœœœœœœœœœœ!œœœœœœœœœœœœœœœœœœœœ&&########13‰œ œ œ œœœ13œœœœœœœœ34 341II421œ œœœœœœœœœœœœœ321341IVII0134‰œ œ œ œœœœœœœœœœœII2134 341œ œœœœœœœœœœœœœœœœ321211IVVC0131244SimplicityAlthough simple in sound and style, with its lush harmonies and rising melody Simplicity is not simplistic.The key of E Major gives the piece a wide range as it uses the lowest note on the guitar in standard tuning.It can be played as duet between student and teacher or as an ensemble piece between two groups. In order to give all players the opportunity to play both parts, players can switch parts at the repeat in measure 20. 29.CD TRACK 37, 38, 39

&&########....˙˙17œœœœœœœœœœœœœœœœœœœœ13234IV241Frets˙˙œœœœœœœœœœœœœœœœœœœœ341211IIVC31˙˙œœœœœœœœœœœœœœœœœœœœ13234IV42˙˙œœœœœœœœœœœœœœœœœœœœ341211IIVC31&&########21!21œœœœœœœœœœœœœœœœœœœœ134!œœœœœœœœœœœœœœœœœœœœ34034!œœœœœœœœœœœœœœœœœœœœ134Ó Œœœœœœœœœœœœœœœœœœœœœœœ04&&########25.˙œœ25œœœœœœœœœœœœœœœœœœœœ3˙‰œœœœœœœœœœœœœœœœœœœœœœœ32wœœœœœœœœœœœœœœœœœœœœ1Ó Œœœœœœœœœœœœœœœœœœœœœœœ4&&########29.˙œœ29œœœœœœœœœœœœœœœœœœœœ3˙‰œœœœœœœœœœœœœœœœœœœœœœœ243wœœœœœœœœœœœœœœœœœœœœÓ ‰œœœœœœœœœœœœœœœœœœœœœœœ&&########33w33œœœœœœœœœœœœœœœœœœœœÓ ‰œœœœœœœœœœœœœœœœœœœœœœœrit.w‰œœœœœœœœœ ‰œœœœœœœœœœœœœ2130421‰œœœœœœœœœ ‰œœœœœœœœœœœœœ34 0214wwww30.

&&##4444œ œ˙!Adagio q = 60 sul ponticello213vibratoVœ œ˙!œœœœ!134œœœ˙U!14213œ œ˙œœœœ ˙!Moderato {q = c 72} ordinario002œ œ˙œœœœ ˙!&&##7œœœœœœœœœœœœ7!œœœ˙Uœœ œÓ!%œ œ˙œœœœœœœœsul ponticello213422œ œ˙œœœœœœœœœœœœœœœœœœœœ1344&&##12œœœ˙U12œœœœœŒ1421œœœœœœœœœœœœœœœœordinario242œ œœ˙œœœ˙œœ˙14œœœœœœœœœœœœ2x to Codaœœœ˙UœœœœœŒ&&##17œ œ˙œœœœœœœœ17œœ˙32200 013232œ œ˙œœœœœœœœœœ˙00210œœœœœœœœ œ œœœ˙œœ00210 3202103232œœœ˙œœ œ˙˙˙0212œœœœœœœœœœœœ˙œœ0201SakuraJapanese Folk Song31.The repeat scheme for Sakura allows the extension of its performance if desired. After the D.S. al Coda at measure 32 player's return to the D.S. symbol at measure nine; then at measure 16 (2x to Coda) jump to the Coda symbol at measure 25 and play to the end. This repeat also allows players to switch parts at measure 9.CD TRACK 40, 41, 42

&&##22œ œœ˙œœœ˙22˙˙34œœœœœœœœœœ˙23œœœœœœœœœœ˙fiœ œ˙œœœœœœœœœœ˙32200 0132œ œ˙œœœœœœœœœœ˙00210&&##27œœœœœœœœ œ œœœ27˙œœ00210 3202103232œœœ˙œœ œ˙˙˙0212œœœœœœœœœœœœ˙œœœ œœ˙œœœ˙˙˙œœœœœœœœ œ œœœ˙œœ&&##32D.S. al Codaœœœ˙Uœœ œ˙32˙˙Uœ œ˙œ œ˙sul ponticello113vibratoAdagio q = 60 XIIœ œ˙œ œ˙œœœœœœœœ134œœœ˙Uœœœ˙U13122&&##37œœœœœœ37œœœœ˙Moderato {q = c 72} ordinarioœœœœœœœœœœ˙rit.œœœœwwwww14˙OOOœœœœ12harm. VIIOOOOOOharm. XII~~~~~~~~32.

Audio Practice Tra Tr acks Included

Go to online flipbook at https simplebooklet com guitaracademypartiii For practice track player go to https www millerguitaracademy com mga tracks

Introduction Introduction Guitar Interact Guitar Int eract Part Part III III Beyond the Fundamentals Part III of Guitar Interact takes students into a new experience in musical development in guitar playing through highly focused goals flexible arrangeme in guitar playing through highly focused goals flexible arrangements for individuals and nts for individuals and groups groups In Part I of Guitar Interact Laying the Foundation students learn fundamental music and guitar skills in an interactive format In Part II Expanding the Fundamentals the player deepens and expands fundamental abilities in solo and ensemble playing as well player deepens and expands fundamental abilities in solo and ensemble playing as well as harmonic development and physical strength and flexibility Part III takes students to a new level of experience by fur Part III takes students to a new level of experience by further ther development of right development of right hand techniques and stylistic elements through the progression of sharp keys up to four sharps It continues to provide an interactive format that also prepares a student for sharps It co ntinues to provide an interactive format that also prepares a student for solo playing as well solo playing as well Part III also expands fretboard Part III also expands fretboard knowledge with additional parts that move outside of knowledge with additional parts that move outside of first position Some of the materials are derived from solo classical pieces by Carcassi first position Some of the materials are derived from solo classical pie ces by Carcassi Sor and Giuliani but presented as ensemble pieces so that the student can master the basic elements of solo repertoire As in the previous material teachers should use a flexible approach as the pieces in Part III also provide ideas for application in classes or lessons Prep studies again are used to III also provide ideas for application in classes or lessons Prep studies again are used to get students ready for the essential elements in each new work Although Part III has very focused purposes it also provides aesthetically rewarding Althou gh Part III has very focused purposes it also provides aesthetically rewarding music that is key to any experience in music study and performance

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A Harmonics Harmonics are one of the most beautiful sounds the guitar can make The bell like tones are an essential part of guitar playing There are two types of harmonics harmonics natural and artificial Natural harmonics are the simplest and should be learned before attempting artificial harmonics Natural Harmonics are played by plucking a note and touching very lightly on the same string at the fifth seventh or twelfth frets The left hand finger finger must also touch directly over the actual metal of the fret By following the steps below you can begin the process of learning harmonics 1 Play each of the open strings 6 w E 5 w A 2 Play each string at the 12th fret w E w A 4 w D w D 2 w 1 G B E w w G O w B 3 Lightly touch each string directly over the 12th fret metal The harmonics sound the same notes E A D 4 5th fret notes Play each note at the 5th fret w A w D w G w 3 G w C B w E w E E w A w 5 5th fret harmonics Lightly touch each string over the 5th fret Notes sound an octave higher than 12th fret harmonics w w w 6 7th fret notes Play each note at the 7th fret w B w E A D F 7 7th fret harmonics Lightly touch each string over the 7th fret Same notes sound an octave higher higher B

B Key of G Major The key of G Major has one sharp which is indicated at the beginning of each line as a key signature This means that all F s are raised to F F 1st string second fret 4th string fourth fret 6th string second fret w 2 w w 4 2 Alternating 4 3 2 1 Repititions Using this pattern of repetitions with scales is a great way to further develop the important skill of alternating The 4 3 2 1 pattern should be used on all the scales in this book It also helps develop the left hand as well 4 4 G Major Scale upper octave 2 2 m i m i m i m i 2 2 3 3 3 2 3 3 m im im im im im i 3 3 3 3 3 m im im im im im i 3 3 3 3 3 m im im im im im i 3 m im im im im im i 2 m i m i m i m i m i m 2 2 2 w i Practice the following scales using the 4 3 2 1 Reps always end with the single note scale with alternating G Major Scale lower octave 4 4 E Minor Scale upper octave 4 w w w 4 E Minor Scale lower octave 2 2

1 Prep Studies for Wandering Wandering Play each exercise 4 x s using alternating 2 3 4 5 6 w c 1 2 2 m i m i Approach the following exercise using the following steps 1 Complete diagramming the rhythm in measures 6 12 2 Play the rhythm with one nger nger 3 Play the rhythm with alternating the right hand ngers 2 3 3 4 2 3 1 J J 1 J 1 2 3 J J Each of the next exercises is a preparation for the chord accompaniment part to our next ensemble piece on the following page Repeat each one four or more times c 1 Emin Amin a m i 1 2 3 4 2 3 1 D 2 3 G 4 4 4 D 2 3 1 Amin 1 2 2 3 1 2 3 1 ww w Emin 1 2 1 2

2 Preparation for Etude in G Major by Fernando Sor The trio on page 5 is an arrangement of a solo piece from Fernando Sor s Complete Method for Spanish Guitar Spanish guitarist and composer Fernando Sor is often called the Beethoven of Guitar as his works show a wide range of dynamic expression similar to Ludwig Von Von Beethoven who was one of Sor s classical era contemporaries His studies are considered standard repertoire by many teachers and students today today Chords in Major and minor keys are available for each scale degree The second part of Etude in G Major on page 5 is made of chords based on the G Major scale The three note note chords move in parallel on strings 2 3 and 4 with the 2nd and 3rd ngers moving together on the same fret Study No 1 c G D 4 3 0 0 2 0 D A 2 3 4 2 1 3 2 1 2 3 1 2 3 1 4 3 2 3 C G 4 2 7 2 4 5 D A Amin E 1 3 9 3 C G 4 Emin B Bmin F 2 7 Bmin F 2 0 Frets Amin E 3 4 5 G D 0 2 0 0 0 Study No 2 w ww G Amin 0 0 1 3 0 2 Frets 0 ww w ww w 1 3 2 2 2 7 ww w 4 3 2 2 4 3 2 5 ww w ww w Amin 5 4 2 1 3 2 1 3 2 ww w ww w ww w Emin 7 9 D Bmin C 4 3 ww w C 4 D 4 3 Bmin 1 3 2 G 0 0 0 ww w 0