2nd Edition
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Köp båda 2 för 523 krMark Phillips is an author and former director of music at Cherry Lane Music. He has served as music editor of Guitar and Guitar One magazines. Jon Chappell is a guitarist, author, and former editor-in-chief of Guitar and Home Recording magazines. His work has appeared in Guitar Shop, Keyboard, Electronic Musician, and Guitar Player.
Introduction 1 About This Book 1 Foolish Assumptions 3 Icons Used in This Book 4 Beyond This Book 4 Where to Go from Here 5 Part 1: Getting to Know the Classical Guitar 7 Chapter 1: An Acoustic Guitar in a League of Its Own 9 Defining What a Classical Guitar Is (and Isn't) 10 Knowing What a Classical Guitar Looks Like 11 Recognizing How a Classical Guitar Physically Differs from Its Peers 14 Beyond Physique: Identifying Other Unique Attributes of Classical Guitar 17 Player's form and technique 17 Musical knowledge and skills 19 Chapter 2: Getting Ready to Play 21 Situating Yourself 21 Taking your seat 22 Supporting the guitar: Leg position 23 Embracing the guitar: Arm support 24 Placing your hands correctly 25 Approaching the Strings with Your Hands 28 Fretting the strings: Left-hand form 28 Preparing to pluck: Right-hand form 29 Stroking the strings: Basic right-hand technique 32 Tuning Up 36 Adjusting the string tension to raise or lower pitch 36 Tuning visually with an electronic tuner 37 Tuning by ear 38 Chapter 3: Deciphering Music Notation and Tablature 43 Knowing the Ropes of Standard Music Notation 43 The composer's canvas: The staff, clef, measures, and bar lines 44 Pitch: The highs and lows of music 45 Duration: How long to hold a note, what determines rhythm, and so on 47 Expression, articulation, and other symbols 50 Relating the Notes on the Staff to the Fretboard 51 Relishing the Usefulness of Guitar-Specific Notation 54 Fingering indications for the right and left hands 54 Stepping up to the barre 55 Taking on tablature, a nice complement to standard notation 56 Part 2: Starting to Play: The Basics 59 Chapter 4: One Note at a Time: Playing Simple Melodies 61 Practicing Notes on One String 62 Exercising your fingers: Strings 1, 2, and 3 63 Workin' (mostly) the thumb: Strings 6, 5, and 4 68P Playing across Three Strings 72 Finger fun on the first three strings 72 All thumbs again on the three lower strings 74 Cruising through All Six Strings 76 No thumbs allowed! 76 Fingers and thumb, unite! 77 Flowing through Melodic Pieces Using All Six Strings 79 Chapter 5: Rolling the Notes of a Chord: Arpeggio Technique 83 Playing the Notes of an Arpeggio: The Basics 84 Working Your Way across the Strings: The Thumb and Fingers in Order 85 Keeping it simple: One digit per string 85 Moving the thumb around 87 Varying Your Right-Hand Strokes 89 Changing the finger order 90 Alternating the thumb and fingers 90 Adding Harmony to Select Notes 93 Feeling the pinch with your thumb and fingers 93 Doubling up two fingers at once 95 Playing Pieces with Arpeggios 96 Chapter 6: Practicing Scales in First and Second Position 101 Introducing Scales, the Necessary Evils 101 Why scales are important 102 How you name them: Applying key signatures 103 Where they start and end: A primer on positions 106 Playing Major Scales in 1st Position 108 The one-octave C major scale 109 The two-octave G major scale 110 The two-octave F major scale 111 The two-octave E major scale 111 The two-octave A major scale 112 Playing Minor Scales in 1st Position 112 The one-octave A minor scale 113 The two-octave E minor scale 113 The two-octave F minor scale 114 Playing Scales in 2nd Position 115 The D major scale in 2nd position using open strings 115 The D major scale in 2nd position using all fretted notes 116 The G major scale in 2nd position using all fretted notes 117 The B minor scale in 2nd position using all fretted notes 117 Applying Scales in Simple Pieces 118 Chapter 7: Exploring Musical Textures 123 Coordinating Contrapuntal Music: Layered Melodies 124 Playing two melodies in sync rhythmically 125 Opposing forces: Separating the thumb and fingers rhythmically 125 Thickening the upper part by adding double-stops 127 Melody and Accompaniment: Using All Your Fingers 128 Matchi