A Modern Method for Guitar - vol 1 - Free download as Word Doc .doc), PDF File William Leavitt - Classical Studies for Pick-Style Guitar (Berklee) [Book].pdf. systematical learning of guitar play and creation, written by Berklee College of Music. You know, there have been a lot of guitar masters start. A practical and comprehensive guitar instruction method used as the basic text for the Berklee College of Music guitar program. Volume 1 teaches the beginning .
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This book is a continuation of Volumes I and II, Modern Method for Guitar. Most of the terms Berklee Basic Guitar - Phase 1: Guitar Technique (Guitar Method). This book is a continuation of Volume I, Modern Method for Guitar. DOWNLOAD PDF . Berklee Basic Guitar - Phase 1: Guitar Technique (Guitar Method). Page 1. Page 2. Page 3. Page 4. Page 5. Page 6. Page 7. Page 8. Page 9. Page Page Page Page Page Page Page Page Page
All forms presented in this book that employ the 6th string and therefore sound in part in the real bass register have the root first or fifth chordal degrees sounding on the bottom. Remember me Forgot password? The Complete Jazz Guitar Method. Actions Shares. Reading "crutches" have been eliminated as much as possible. This is accomplished by connecting the four basic types 1, 2, 3, 4 and one derivative type 1A fingering patterns that were, hopefully, mastered from the first book. Simona Gavril.
The majo r and relative mino r key sig- natures are the same.
There are 3 differen t scales in each minor key. Be sure to observe the tempo changes. Do not play them on two consecutive days. Do not go back over any particular section because of a wrong note.
Do not "practice" these Reading Studies, do not play on two consecutive days.
See top Page For additional technique building patterns , see Page When 2 consecutiv e notes on adjace n t stgs. The 1st guitar part of this duet is often played using the "muffle d effect. You will have to do a great deal of reading in these areas, however, to really know them. Key of C major.
Flag for inappropriate content. Related titles. The Complete Jazz Guitar Method. Jump to Page.
Do not skip around. Do not change the fingering of any form, even if you already play it but in a different way. It will appear later on with "your" fingering,. Practice all chord forms chromatically up and down the fingerboard observing root chord names. These chord exercises are very important and should be reviewed regularly as they serve many purposes, such as physical development of the left hand.
Regular review is a must! Do not "practice" these Reading Studies, do not play on two consecutive days. See top Page For additional technique building patterns, see Page When 2 consecutive notes on adjacent stgs.
Speed not corning? Left hand accuracy not consistant? Play any scale very slowly. The 1st guitar part of this duet is often played using the "muffled effect. All strings being played must be kept covered. As this somewhat inhibits picking, the part should first be thoroughly practiced without the muffled effect or "open". When moving from chord to chord the best fingering is usually the one tnat involves the least motion in the left hand.
Leaving one finger free for possible melodic additions is also an important factor. The sus. The note name for the 4th is also used. Sus 4 may also be called natural 11th. The root is on the same string as the sus 4 form.
For example in the above exercise you may substitute symbols "G11" and "A11" for sus 4.
Eventually you will be able to recognize and "feel" entire groups of syncopated notes. This is a definite aid in learning to read these "off beat" rhythms. Later on when syncopation is no longer a problem you will vary your picking for the purpose of phrasing and accents.
Reading music is a combination of instant note and finger recognition and that of playing the "sound" that you "see" on the music. Now try this--play the tonic chord of these Reading Studies to get your "ear" in the proper key.
If your fingers have been over the fingering type enough times they will automatically play whatever notes sound patterns you mentally "hear" on the page. This will take a great deal of time to master. For additional technique building patterns, see Page 46 99 For additional technique building patterns see Page 46 Transpose and write out all rhythm exercises one or more keys higher and practice The third major 6th form shown here is, by far, the most valuable— as it does not use the first string, and therefore has a better rhythm sound.
All forms presented in this book that employ the 6th string and therefore sound in part in the real bass register have the root first or fifth chordal degrees sounding on the bottom.
You have probably seen some of these same forms elsewhere with different chord names indicated. Theoretically these other names are also correct: This will be discussed thoroughly in a later section.. In an orchestral rhythm part the chord symbols used generally indicate the total or complete harmonic structures and it is not ex- pected nor is it possible that you play all degrees at all times. Of course you should try to play as close as possible to the written sequences, but actually simplification by OMITTING some of the chordal degrees is the "norm".
It is best, for now, to omit the higher degrees.
More about this later Now, in addition to the five major keys in the second position, you should be somewhat familiar with the most used major scales in posi- tions one, three and four. You will have to do a great deal of reading in these areas, however, to really know them.
Most of the terms and techniques are directly evolved from material presented in them. Fingerings for two octave scales and arpeggios are developed to the ultimate Three octave patterns will be shown in a latter volume, but many can be worked out with the aid of the position to position fingerings on pages 76 and With regard to chords and harmony, diagrams are totally dispensed with and everything is worked out from a knowledge of chord spelling and the construction of voicings.
There will be further development later in this area of study also. Mastery of the "right hand rhythms" pages should enable you to perform any rhythmic combinations that may confront you at any time..
If this property is lacking then perhaps you had better throw the pick away. Should you be fortunate 'enuff to possess a creative soul, the pages devoted to chord and scale relationships will be I'm sure a rather large help In any event this knowledge can certainly keep you out of trouble when you have some on the spot "filling" to do.
As in the preceding volumes, all music is original and has been created especially for the presentation and perfection of the lesson material. Once again, all the best and good luck. William G. Leavitt It is important that the following material be covered in consecutive order.
The index on page is for reference purposes only and will prove valuable for review or concentration on specific techniques. A Modern Method For Guitar. Read more. A Modern Method for Guitar - Volume 1.