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aining some of the Greatest Works of the Greatest Masters.
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CHOPIN,
Chopin's Mazurkas and Waltzes. — Complete collection. Sheet music size.
To which is prefixed his biography and a critical review of his works by
F. Liszt. This work, by one of the great masters of music, should be
owned by every pianist. Price, c'oth, §3.00.
Chopin's "Waltzes. — Complete. Peters' edition reprinted. Sheet music size.
An elegant engraved edition of the waltzes, carefully revised with foreign
fingering, by Hermann Scholtz.
Price, paper, 50 cents; cloth, $1.35.
Chopin's Waltzes. — Stereotype edition. Sheet music size. Complete and
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Chopin's Waltzes. — Elegant plate edition known as the " Russell Edition."
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Chopin's Mazurkas. — Complete. Paper edition. Price, $1.00.
Chopin's Nocturnes. ^- Peters' edition reprinted, No. 1004.
Elegant edition of these classic Nocturnes revised aiul fingered by Her-
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CLEMENTI.
dementi's Sonatines. — (Op. 36, 37, 38.) Peters* edition, Leipzig, reprinted.
Revised by Kiihler. Sheet music size.
Cleinontl's Sonatines are extensively used by teachers; they are as admir-
aole for study as for recreation. This is a line engraved edition ■* *■ a low
price. Price, 50 cents.
HAYDN.
Haydn's Sonatas. — This Is a substantial edition of the Sonatas of the great
master. Every advanced player should have it. Price, paper, $2.00; cloth,
$3.00.
KOHLER.
Kohler'g Kinder-Album, two books each. — Charming pieces for little
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Kohler's Sonatinen Album. — Peters' edition reprinted, No. 1233, bis.
Contains Sonatines by Kuhlau, Clemcnti, Haydn, Mozart, Beethoven, and
Pusaek, and rondos and other pieces by Bach, Haydn, Mozart, Beethoven,
Schubert, Wehe-, and Mendelssohn. Foreign fingering. Excellent for young
players. Price, cloth, $1.50; paper, 75 cents.
KUHLAU.
Kuhlau's Sonatines. —Peters' edition, reprinted, No. 715 A. Edited by
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MENDELSSOHN.
Mendelssohn's Songs Without Words (Leiiler Ohnc Worte).— Copy of
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Mendelssohn's Songs Without Words (Lieder Ohne Worte). — With
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N. B. — All the editions contain tho full number of forty.nlno songs, and
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MOZART.
Mozart's Nineteen Sonatas. — Metronomized and fingered. Price, cloth,
$4.00.
Mozart's Nineteen Sonatas. — Fingered by J. Moschclles. Price, cloth,
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N. B. — These editions are elegantly bound, printed from engraved
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SCHUMANN.
Schumann's Album for Young Pianists. — Containing fifty-six pieces.
Op. 6S and Op. 15. Beautifully printed on plates of full sheet music f:I?e.
Schumann's "Album" occupies the same field for the learner which
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full of bt'utifu' melodies, arranged in the manner so characteristic of its
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Schumann's Album for Young Pianists. — Carefully fingered, and con-
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N. B.— Many editions of Schumann's " Album " are confined to his Op. 68,
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MISCELLANEOUS COLLECTIONS.
PIANO CLASSICS.
A BOOK OJT GEMS EY THE BEST COMPOSERS.
A Collection of 44 Piano Pieces of Unusual Merit.— Tho publishers
esteem themselves very fortunate in having found among their more recent
sheet music so many pieces of true " classical " beauty. While pleasing to all,
they will be especially welcome to players of ability and taste, who wish to
find new music which is on a line with that of the " masters."
The composers whose works are found in this very superior book
are masters in their way, and their compositions are sure to satisfy those who
love good music.
While the music of Piano Classics Is of a high character, it Is only
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THE CLASSICAL PIANIST.
42 Choice Classics for the Pianoforte. — The music is not of exceeding
difficulty, but it is such as will please players of cultivated taste, and afford
genuine pleasure to all who like artistic piano music. Price, boflrds, $1.00; full
gilt, $2.00.
YOUNG PEOPLE'S CLASSICS.
52 Easy Classics for the Pianoforte. — Nominally for young pupils,
but really just the thing for pupll3 and players of all ages who can only conquer
easy music, and still wish for something a step above the enmnaon easy popular
airs. Fifty-two pieces, by Lichner, Lange, Kullak, Spludler, Oesten, Schumann,
Reinecke, Loeschhorn, Schubert, Heller, Beethoven, Mendelssohn, and others.
A grand collection of easy music that is good, and which will improve tho
taste as well as please tho young piaulat. Price, board covers, $1.00; cloth,
gilt, $2.00.
THALBERG'S L'AKT DTJ CHANT.
In this elegant book will be found transcriptions by SIglsiaund Thalberg (the
great pianist) of the following-named melodies: —
1. Quatuor from " Purll.anl." 6. " Percheml Gnardl,' from Zelmlra.
2. "Tre Giorni," An air by Pergolese. 7. " Bella adorata," frc n Uluramento-
3. " Adelaide," by Beethoven. 8. " Nei Silcnzio," from Crociftto-
4. "Air d'Kglisc," from Stradella. 9. "Elnsam bin ich nlcht," fromf-Pro-
5. Lacrvmosa, from Mozart's Requiem closa.
and a duo from Figaro. 10. " Le M tinier etle Torrent," by Schu-
bert.
All these transcriptions exemplify tho "art of singing as applied to the
piano." In other words, they show how a piano may bo made to respond to
tho touch In as sympathetic a manner as docs the voice to the efforts cf tit*
cultured vocalist. Price, cloth, $4.00.
LOW'S PRACTICAL COURSE IN FOUR-HAND
PIANO PLAYING.
A progressive and thoroughly practical set of exercises for two
play on ono piano, or for teacher and pupil together, by Joseph Low
contains, besides tho exercises, a varied collection of pretty melod!
as piano ducts. To be used In connection with any pianoforte 1:
more especially with Kohler's Btudlcs. Price, 75 cents.
BOSTON :
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/ 7S3
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)
CARCASSTS INSTRUCTIONS FOR THE GUITAR.
6
Character and Value of the Notes and Rests.
There are seven forms of Notes, each having a different
i ilue. By the value of a note, is understood, the duration of
lound which it represents ; tills duration is determined by the
'orm of the note itseif. Each of these notes has a Rest or
i.lence, whbh corresponds with it in value or duration.
i
Semibreve.
Ronde.
Figure et Valeur des Notes et des Silences
Les figures des notes sont au nomore Cm »epl, >ui son Vsepi
valeurs differentes ; on entend par la valeur d'une note, la duree
que doit avoir le son qu'elle produit ; cette duree est determinee
par la figure de la note meme. Chacune des sept figures da
notes, a un silence, qui lui correspond en valeur, c'est-a-dire,d<
la meme duree.
Semibreve Rest.
Pause.
Which is equal to 2 Minims,
Une Ronde vaut deux Blanches,
Silence qui vaut une Ronde.
Minim Rest.
Demi Pause.
=£
or 4 Crotchets,
ou quatre Noires,
Qui Taut une Blanche
Crotchet Rest.
Soupir.
or 8 Quavers,
ou huit Croches,
Qui vaut une Noire.
Quaver Rest.
Demi Soupir.
or 16 Semiquavers,
ou 16 Doubles Croches,
Qui vaut une Croche.
Semiquaver Rest.
Quart de Soupir.
i
5
Ot 32 DEMI8EMIO,UA VEK8,
ou 82 Triples Croches.
Qui vaut une Double Croche.
Demisemio.ua ver Rest.
Demi quart de Soupir.
m
Sixty-four Hemidemisemiquavers are equivalent to one Semi-
Weve.
Of the Dot.
The Dot, placed immediately after a note or rest, increases
Us value one half. Thus, a dotted Semibreve is equal to three
ZTl ,a i°"ed miDim 1S 6qUal t0 three Crotchets> * dotted
^rotchet to three quavers, a dotted quaver to three semiquavers,
oft^s™" d0t 'Sadded' ftS ValUe " eqUal t0 half tha<
Dotted Semibreve
Ronde pointee.
Qui vaut unel
Les quadruples Croches sont barrees quatre fois, il en feut
soixante quatre pour une Ronde.
Dn Point.
Le point plaoee immediatement apres une note, ou un
silence, augmente de moitie sa valeur ; ainsi, la ronde pointee,
vaut trois blanches, la blanche pointee, trois noires, la noire
pointee, trois croches, la croche pointee, trois doubles croches
<fcc.
II arrive quelquefois qu'on met deux points a la suite d'uu«
note ; le second point alors, augmente de moitie la valeur dv
premier.
Dotted Minim.
Blanche pointee.
Dotted Crotchet.
Noire pointee.
Dotted Quaver.
Croohe pointee.
Dotted Semiquaver. | Dotted Demisemiquaver. | Dotted Rests
Double Croche pointee. | Triple Croohe pointee. | Silences pointer
3 Pauses.
i Pause*.
6
CaRCASSI'S instructions for the GUITAR
Of Time.
Time is die division of any piece of Music into parts of equal
duration. There arc three principal measures ; the measure of
four beats of three beats, and of two beats in a bar ; all the
others are derived from these three, and are called Compound
Measures.
The Measure, or Time, is marked at the commencement of
every piece of Music by signs or by numbers, indicating the
subdivisions of the measure. The Staff is divided by vertical
mes into separate parts, called Bars of measure.
Examples of different measures, the manner in which they
are marked at tb» ueginning of each piece of music, and the
method of beating time.
De la Mesure.
La Mesure e'est le partage en portions d'urje egalf ~tuee a«
tout morceau de musique.
II y a trois mesures principales ; la mesure a quane tern*, l»
mesure a trois tems, et la mesure a deux terns ; toutes les autrei
sont derivees de ces trois premieres, et se nomment mesures
composees.
La mesure se marque au commencement de chaque morceau.
par des signes, ou par des chiffres qui indiquent de combien ds
tems elle est composee. Les mesures se separent par des barres
verticales, appellees barres de mesure.
Exemples de differentes mesures, comme elles sont indiquees
au commencement de chaque morceau, et maniere de le;
battre.
-i£*4
Common Time, or 4 beats
in a bar, is marked by a ^-,
uid is beaten thus,
Triple Time, or 3 beats
\. J bar, is marked |, and is
Deaten thus,
Two-four Time, or 2
jeats ill a bar, is marked f ,
»nd is beaten thus,
Twelye-eight Time, derived from Com-
mon Time, is marked y, and is beaten in
our divisions.
Nine-eight Time is derived frm Triple T
Time, is marked §, and J-D'eaten in three
divisions. ^
Six-eight Time, is derived from Two-four
Time, is marked §, and is beaten in two divi-
sions.
A Bar of two beats, called " alla breve," and
inaiked by a 0 or •>, is beaten in two divisions,
Kid is the same value as common time.
Three-eight Time, is marked jj, and is beaten
Du t\;ree divisions.
Of the Triplet.
The Triplet is a group of three notes, over
vliijh the figure 3 is placed ; these three notes
ire jilayed in the time of two of the same denom-
r.ation.
y\ hen the figure 6 is placed over a group of
P'jt qotes, it indicates that these six notes have
out the value A four.
t*
-8 4 I 3t S 3 4—jrr
\
Mesure a 4 tems ; elle se
marque par un -0, et se bat
ainsi,
Mesure a 3 tems appellee
trois quatre ; elle se marque
par un £, et se bat ainsi,
Mesure a 2 tems appellee
deux quatre ; elle se marque
par un |, et se bat ainsi,
Mesure a donze huit, de.rivtie dela mesme
-ajfflHafaWrtffins ; elle" se marqi"
se bat a quatre tems.
Mesure a neuf huit, derivet ac ial
a trois tems ; elle se marque par un
bat a trois tems.
Mesure a six huit, derivee de la mesure a
tems ; elle se marque par un g, et se bat a
tems.
deu
in
<?z:
~a
m
H-
m\
Triplet. Value.
Triolet Meme valeur.
Mesure a deux tems, appellee " alla breve,"
elle se marque par un -gr on 2, elle se bat a deux
tems, et se compose des memes valeurs que .a
mesure a 4 tems.
Mesure a trois huit, elle se maitque par nil ^,
et se bat a trois tems.
Du Triolet.
Le Triolet est une groupe de trois note* in
dique par le chiffre 3 dont il est surmonte , ^e
trois notes doivent etre faites pour la va.eui de
deux.
Lorsque six notes sont surmontee? d un 6
elles n'ont la valeur que de quatre.
alue.
Meme valeur
OAKOASBI'8 INSTRUCTIONS FOR THE GUITAK.
Of the Legato or Slnr, the Tie and Syncopation.
These three terms are indicated by a curved line, connecting
nveral notes together.
Sutured Notes By this we under-
ttand seveial notes formed ir> succession
by a single vibration
Tied Notes. The Tie indicates that
the notes should be held out through their
whole value, as far as the sign extends.
Dn Coulf, de la Liaison et de la Syncope.
Ces trois iinominations se marquent par an trait recount*
• — ~" — _ qui lie plusieurs notes ensemble
Notes Coulees. On entend parcoult
plusieurs notes faites successivement pa
une seule vibration.
Notes Liees. La Liaison indiqu
qu'il faut tenir les notes de toute leu:
valeur pezidant la duree du signe.
Syncopated Notes. Syncopation is
the binding of the unaccented part of
a measure with the accented part of
the measure following, so that it ah
forms one note.
I
Notes Synuopees. On entend pai
syncope une note qui se partage egale
ment entre la partie faible d'un terns e
la partie forte du tems suivant.
Of the Sharp, Flat and Natural. ^
The Sharp (#) is a sign which raises a note a semitone.
The Flat (b_) lowers it a semitone ; and the Natural (^) restores
b note, altered by a sharp or flat, to its original sound.
A sharp or fiat placed before a note, is called an Accidental,
and acts only in the bar in which it occurs.
When these signs are placed at the commencement of a piece
of music, namely, at the Clef, to point out its tone^all the notes
which are on the same line or space, on whioh these signs- are
placed, are affected by them.
There are as many sharps and flats as there are notes ; the
sharps are placed, beginning with F, by fifths ascending and by
fourths descending.
The flats are placed, beginning with B, by fourths ascending
«ud by fifths descending.
F
Fa
C G
Ut Sol
D A
Re La
E
Mi
Dn Dieze, du Bemol ct dn Becarre.
Le Dieze (#1 est un signs qui liausse d'un demi-ton l'intonalion
de la note. Le Bemol (b) la baisse d'un demi-ton, et le Becarre
(1^) remet dans son ton primitif la note alteree par le Dieze o-<
le Bemol.
Le Dieze ou le Bemol, pose a cote d'une note, se nomme
accidental, et n'agite que dans la mesure ou il est place.
Mais lorsqu'il est place au commencement des morceaux de
musique (ce qu;on appelle a la Clef) pour en designer le ton
alofs toutes les notes qui portent le mome nom que le degre oil
sont pose ces signes, en prennent le caracttic.
II y a lutant de Diezes et de Bemols que de notes f°reST©i€&eg^ ••
se posent (en commencant par le Fa) par quinte en montetHt-vorj
par quarte en descendant ; les Bemols se posent (en commeng-
ant par le Si) par quarte en montant ou par quinte en descendant
I
B E
Si Mi
A
La
1)
Re
G
Sol
C
Ut
F
Fa
Sz
:b:
:br
I
1st Sharp, 2d
ler Dieze,
3d 4th 5th «th 7th
1st Flat 2d
ler Bemol,
3d 4th 5th 6th 7th
The double sharp (x) raises the note one tone, and the double
Fla. (bb.) lowers it one tone.
Of the Intervals.
The distance between two sounds is called an Internal.
Example.;
1 Exemple. (
Unison.
Unisson.
Second.
Seconde.
Third.
Tieroc.
1
m
II y a aussi le double Dieze (x) qui nausse la note d'un ion
et le double B6mol (hh) qui la baisse d'un ton.
Des Interval lev
On appelle intervalle la distance qu'i) y a d'un son a un auirw
Fourth.
Quarte.
Fifth.
Quinte.
Sixth.
Sixte.
Seventh.
Septieme.
Octave.
Octavo
JF=rPii^P^E
IMfl
Of the Tone and Mode or Hey.
The principal note on which a musical composition is
I latahlished is called the Key-note, or Tonic. Any note can
w become the Tonic or first note of the Scale
Dn Ton ct dn Mode.
La principale note sur laquelle un morceau de musique esl
jtabli, est appellee la note du Ton, ou Tonique. Toutes lei
notes peuvent etre Toniques • c'est-a-arre, premiere note d'une
E amine
r
oARCASSI'S INSTRUCTIONS FOR THE GUITAR
The modes, are the chaisocer of the Key; they are of two
ta»A , the Major mode, wnose third is major, or composed of
.wo full tones, and the Minor mode, whose third is minor, or
composed of a tone and a semitone.
Le mode est la caractere du ton ; il y en a deux especes ; k
Mode majeur dont la tierce est majeure, c'est=a-dire compose*
de deux tons pleins ; et le Mode mineur dont la tierce en
mineure, c'est-a-dire composee d'un ton et d'un demi-tone.
Major Third
Tierce Majeur.
Mihob Third.i
Tierce Minear. U
^
Of the Scales «r Gamits.
There are two kinds of Scales, the Diatonic and the Chro-
itatic. The Scale is Diatonic when the five whole tones and
two semitones which compose it, succeed each other regularly
Bud in the natural order, whether ascending or descending. It
is Chromatic when the five whole tones of the Diatonic Scale
»re divided into semitones, so as to form twelve of these in the
compass of the octave.
In the Diatonic Scale, the two semitones are found between
the third and fourth, and the seventh and eighth degrees, in the
major mode ; and between the second and third, and the
seventh and eighth, in the minor.
Scale of C Major, with the tones and semitones which
compose it.
This scale may serve as a model for all the other major
scales.
Des Gammes.
II y a deux sortes de Gammes ; ia Diatonique et la Chrcina-
tique. La gamme est diatonique lorsque les cinq tons et les
deux demi-tons qui la composent s'enchainent regulieremenl,
tant en montant qu'en descendant, dans l'ordre naturel. Elle
est chromatique lorsque les cinq tons de la gamme diatonique
sont divises en demi-tons ce qui en formera douze dans Petenduf
de l'octave
Dans la gamme diatonique, les deux demi-tons, se trouven-
du 3e. au 4e. degre, et du 7e. au 8e. dans les tons majeurs ; «
du 2e. au 3e. degre, et du 7e. au 8e. dans les tons miueurs.
Gamme d'Ut Majeur, avec les tons et les demi-tons qui li
composent.
Cette gamme doit servir de modele pour toutes les au«re«
dans le mode majeur.
Whole Tone.Wholo Tone.Half Tone. Whole Tone. Whole T
Ton. Ton. Demi Ton. Ton. Ton.
Whole T. Half Tone.
Ton. Demi Ton.
Half Tone. Whole T. Whole T. Whole T. Half T. Whole T. Whole" r?"
Demi Ton. Ton. Ton. Ton. Demi Ton. Ton Ton.
Scale of A Minor, with the tones and semitones which
xnpose it.
This scale will serve as a model for all the other minor
• ales.
Gamme de La Mineur, avec les tons et les demi-tons qui «a
composent.
Cette gamme servira de modele pour toutes les autres dans U
mode mineur.
to.
Scale Ascknding.
Gamme Montante.
Tif-rec Mint-ill**
: 2
A II
^i" La Si
S
i
C
Ut
4
D
Re
6
E
Mi
The 6th and 7th note
arc iilwnyn raited hulfn
£«ie :«i the minor aralea
6 7
FIS GIS
Fa Sol
-*=.
8
A
La
-»S>-
DEecENDiNo Scale.
ftftmme Deseendanto.
In descending the 7th and 6th are restored totlheir original piten
8769 48 21
AGFEDC HA
La Sol Fa Mi Re TJt Si La
Whole Tone. Half Tono Whole T.
Ton. Dort-i Ton. Ton.
Wholo T
Ton.
Wholo T. Wholo T. Half Tone,
Ton. Ton. Demi Ton
I Ln 6o. et 7o, note ion! I
I totljouni nltcree dnnn lea
] tmiH mlnonra.
Whole T. Whole T. Half T. Wholo T. Wholo T. HalfT. Whole T
Ton. Ton. Demi Ton. Ton Ton. Demi Ton. Ton
En descendant on aupprlme ['alteration de la 7me et 6xt«
The Key of a piece of music is indicated by the number of > Le ton d'un morceaude musique se designe par le nimbie at
Sharps or Plats which are f"»nd at the Clef. Each Major key, Diezes on de Bemols qui se trouvent a la Clef. Chaque ton
» lich I sail call the prin, '. ! kev; has its relative Minor key. [ majeur, que j'appellerai ton principal a nn ton mineur qn • In;
I est relatif
CARCASSI'S INSTRUCTIONS FOB THE GUITAR.
a
It is esliad relative, jeeause it is marked at the Clef by the
«arae number of Sharps or Plats as its principal key ; except
the key of C major, and its relative A minor, which have up
•ignature.
The relative key is a minor third below its principal key, as
ii.e following table shows.
C Major Mode. G Major. D Major. A Major.
Ut Mode Majeur. Sol Majeur. R4 Majeur. La Majeur.
On le nomme relatif parcequ'il est indique a la Clef par le
meme nombre d'accidents que son ton principal ; excepte le ton
d'Ut majeur, et de La mineur, son relatif, oil il n'y a rien a la
CM
Le ton relatif se trouve une tierce mineur au dessous de son
ton principal ; voyez le tableau suivant.
E Major.
Mi Majeur.
-e-
*:
*=*»
B Major.
Si Majeur.
fc*
Fjj Major.
Fati Maje
Cj} Major.
eur. UtJS Majeur.
A Minor Mode. E Minor. B Minor. F# Minor. Cjf Minor.
Lb Mode Minenr. Mi Mineur. Si Mineur. Fajj Mineur. Ut| Mineur.
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r-
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40E
fc*
Gti Minor.
Solj} Mineur.
Dit Minor.
Rett Mineu
-Gh-
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JH
Ati Minor.
Lati Mineur.
*?#=*
=*
t±=ai
F Major Mode.
Fa Mode Majeur
— &
Bt> Major.
Si|2 Majeui
Eb Major.
MIJ2 Majeur.
-h — a
■Hi-
AJ2 Major.
LaJ2 Majeur.
*±
35:
±:F
Dt? Major.
IUt» Majeur.
acfe=
EI^IDZi
Gfe Major.
Soil? Majeur.
Cbj Major.
Ut)2 Majev.
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*=fc
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1
D Minor Mode.
Re Mode Mineur.
G Minor.
Sol Mineur.
C Minor.
Ut Mineur.
F Minor.
Fa Mineur.
B)2 Minor.
Si|? Mineur.
El? Minor.
MiJ2 Mineur.
Ab Minor.
La|? Mineur.
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321
i
To shorten the study of the foregoing tables, and to know in
which key a piece of music is, it is necessary to know that
when there are no flats or sharps at the Clef, it is in C major or
A minor ; with the #, the major key is one semitone above the
last sharp placed at the Clef; and the minor key two semitones
below it ; with the b_, the major key is five semitones below
the last b_ in the signature, and the minor key four semitones
above.
To know whether we are in the principal key of the major
mode, or in its relative minor, it is necessary to examine whether
the fifth of the major key is accidentally altered by a sharp or
natural ; if not, we are in the principal major key ; if it is
altered, we are in the relative minor.
Of Abbreviations.
To abbreviate is to represent several notes by a single one,
a bf a single sign.
J J J J.JTnJ53
221
Pour abreger l'etude des tableaux precedens, et savoir dans
quel ton est un morceau, on remarquera que lorsqu'il n'y a rien
a la Clef, il est en Ut majeur ou en La mineur ; avec les $ Is
ton majeur est un degre" au dessus du dernier #, pose a la Clef;
et le ton mineur deux degres au dessous ; avec les b_ le ton
majeur est cinq degres plus bas que le dernier h pose a !a Clef,
et le ton mineur quatre degres plus haut.
Pour counaitre si l'on est dans le ton principal, mode majeur,
ou dans son ton relatif, mode mineur, il faut chercher dans lea
premieres mesures du morceau si la quinte du ton majeur est
alteree accidentellement par un £ ou par un ^ ; si elle ne I'est
pas, on est dans le ton principal, mode majeur ; et si elle est
alteree, on sera dans le ton relatif mode mineur.
Des Abbreviations.
Abreger c'est representer plusieurs notes par une seule note
ou par un seul signe.
faw-
JSL
^g
mmm
3^*3
S
^ff
2*
The Pause t^ is placed over notes and rests, and denotes
d** the performer may stop at pleasure.
ua1
i
Le Point d'orgue t> se place indistinctement sur les not*
et sur les pauses ; il indique que l'on pert s'arreter a volonte.
^m
io
CARCASSI'S INSTRUCTIONS FOR THE ttuirAR.
The R*,EiT uAdicates that the part 1Sto be repeated. When
he dot, are before the bar, the previous division is to be
epeated ; when after the bar, the division following
^^^
Da Cafo, ;r D. C, indicates that the piece is to be played
again from t.ie beginning.
The Sign g indicates that the piece is to be repeated to the
word Fjjte.
Signs Indicating the Degree of Power.
viano or p means sweet, soft, mf halfloud
very soft, sfz ... suddenly/.
=r • . increase.
~" decrease.
• loud. cres. ■
very loud, dim.:
S,onEs DI : RENvo,s. Indiquem ,a
de mus.que du cote ou sont places ies points.
ifMf
ment! CAP° °" °" & """^ qU'11 faUt rePrendre ™«»»me,I0.
Le RENvo. .$• indiquequ'ilfaut reprendre le morceaa a «
signe jusqu'au mot Pin. ""iceac a ce
Signes Indiqnant Ies Nuances.
Lepjawoou^veutdiredoux. mf a ■ r
Les 2 »n . • J ' ' ' * demi fon
Uf2PP ' • * tres P*no. ,yjs forc.
Les 2 ^ ' " " " ; - 5°rt" "'^ augments
LeS2# . . . .tresfort d.m ^ ^ dimin^
INSTRUCTIONS FOR THE GUITAR.
MfiTHODE DE GUITARE.
FIRST PART.
Manner in which the Gnitar is Strung and Tuned.
The Guitar has six strings ; the three first of which are Gut
«nd the three others of silk, covered with silver wire They
are tuned by Fourths, with exception of the third string, which
is tuned a Third below the second
PREMIERE PARTIE
Maniere dont la Guitare est Monti* et Accordee.
La Guitare est montee avec six cordes, dont Ies trois premiere,
ont en boyau, et les trois autres, en soie filee d'argem Tout«
Gut Strings.
De boyau-
Coveked Strings.-
De soie filee d'argent
■S>-
rsr
Manncr of holding the Guitar, and the
Position of the Hands.
liJP°hh0hld I" Gutat WeU' k " neCeSSarF '0 -ton a seat a
Ut le higher than those in common use; the left foot to rest on
* stoo., of a height proportioned to the seat ; throw out the right
altrt?Winv ,!hef00taliUle; the,eA l°S t0 Preserve its
aatural portion ; the weight of the body of the instrument to
W principally in the left thigh
Maniere de s'asseoir pour Tcnir la Guitare,
et Position des Mains.
«ur la euisse gauche grande |,aru.
OARCASSI'S INSTRUCTIONS FOR THE GUITAR
II
Being thug seated, the Guitar is placed transversely on the
!sft thigh, as seen in the drawing.
This position is preferable to all others, because it offers three
points of support to the instrument, and balances it so as not to
require the support of the hands.
The Left Hand.
The left hand should lightly press the Neck between the
thumb and the fore finger ; the end of the thumb should rest
on the side next to the thick string, between the 1st and
2nd frets, and the large joint of the fore finger between the
Nut, the end of the finger board, and the 1st fret, on the side
next to the small string.
The arm should hang naturally, with the elbow separated
from the body, taking care to hold the fore arm and wrist
curved ; the fingers should be separated, and held as hammers
ready to strike thn strings between the four first frets.
The fingers in this position will naturally fall upon the three
first strings ; when they are required to reach the other three
xtrings, the wrist should be still more curved, and the thumb
put more under the neck. The thumb is also used sometimes
to press on the 6th string for particular notes ; when to be tnus
used, the word thumb will be placed under the notes.
The Right Hand.
The right fore arm should rest on the edge, formed by the
side and the sound board, in the direction of the Bridge ; the
little finger should be extended and rest lightly on the sound
board, near the first string, and a little distant from the bridge.
The thumb should be extended and placed on one of the cov-
ered strings, the three other fingers a little curved to be held
over the gut strings. Moving the hand towards the Rosette,
the tone of the Guitar will be much softened.
manner of Touching the Strings.
The strings are made to vibrate with the Thumb, 1st, 2d,
ind 3d fingers. The 6th, 5th, and 4th strings, on which are
played most frequently, what are called bass notes, are played
with the thumb ; the three other strings are played in the
Gamuts and phrases of melody with the 1st and 2d fingers
alternately, changing the finger at each note ; the 3d finger
'"> used oniy in Chords and Arpeggios of 4, 5 and 6 notes.
To obtain a full and mellow tone, it is necessary to apply
some force with the end of the finger, avoiding to touch the
strings with the nails, the fingers meet the strings obliquely, so
as to cause them to vibrate across the finger board.
The thumb of the right hand, in striking the thick strings,
Rtiould always slide to, and rest upon the string next to the one
made to vibrate, and should not be removed but to strike the
next note ; except in cases where the string on which it has
Hided should be made to vibrate by another finger immediately
kfter, when the thumb ought to strike the string without touch-
ing anv ither
One fois bien assis de cette maniere, on pose la Guitare trans*
veiScucOieiii am in cuissc gauche, comme le demontre la planch*
precedente ; cette position est preferable a toute autre parce-
qu'elle offre trois points d'appui a l'instrument, qui se trouve <n
equilibre sans oue les mains soient obligees de le retenir.
Main Ganche.
La main gauche doit presser legerement le manche entrc le
pouce et l'index, l'extremite dn pouce doit poser du cote dea
grosses cordes entre la Ire et la 2me touche, et la grande pha-
lange de l'index entre le sillet et la Ire touche du cote de la
chanterelle. On doit laisser tomber naturellement la partie
superieure du bras, ecarter le coude du corps en ayant soin de
tenir l'avant bras et le poignet un peu arrondis. Les doigt«
doivent se tenir ecartes, et en forme de marteaux au dessus des
cordes, prets a se poser sur les quatre premieres touches ; les
doigts, dans cette position, tombent naturellement sur les trois
premieres core'es ; lorsqu'ils doivent atteindre les trois dernieres,
il est necessaire d'arrondir davantage le poignet, et de placer le
pouce. plus au dessous du manche.
On se sert aussi quelquefois du pouce de cette main, poui
doigter quelques notes a la 6me corde, du cote oppose aux autres
doigts. Les notes qui doivent etre doigtees ainsi sont indiqueea
par le mot pouce, que l'on place au dessous des notes memo
Main Droitc.
L'avant bras droit doit s'appuyer sur le bord lo le pai
l'eclisse et la table d'harmonie, dans la direction du c evalet.
Le petit doigt doit un peu s'ecarter, et se poser legerement sin
la table d'harmonie pres de la chanterelle a peu de distance du
chevalet. Le pouce se tiendra allonge et en dehors des autres
doigts, et posera sur une des cordes filees ; les trois autres
doigts, un peu recourbes, se tiendront au dessus des trois cordes
de boyau. Lorsqu'on vein, adoucir le son de la Guitare, on
porte la main vers la Rosette.
Maniere de Pineer les Cordes.
On se sert de quatre doigts pour pineer les coides de Ta Gui-
tare ; ce sont : le pouce, l'index, le medium et 1 annulaire.
Les 6me, 5me et 4me Cordes, sur lesquelles, s'executent le plus
souvent les notes appelees basses, se pincent du pouce ; les 3
autres cordes se pincent, dans les Gammes et les phrases d
melodie, avec l'index et le medium alternativement en change-
ant de doigt a chaque note.
Le doigt annulaire ne pince que dans les accords et arpege*
composes d * 4, 5 et 6 notes.
Pour obtenir un son plein et moelleux, il faut pmcei un peu
fort, mais sans roideur avec l'extremite des doigts en evitant la
contact des ongles contre les cordes, qui doivent etre pincees
un peu en biais. Le pouce de la main droite en attaquant les
grosses cordes, doit toujours glisser sur la corde a cote de ce.le
qu'il vient de pineer, et ne doit se relever que pour pineer uni.
autre note, excepte pourtant dans le cas ou la corde sm
laquelle il tombe serait mise en vibration par un autre doigt
dans le meme terns ou immedintement apres. alois le pouce d<ui
It,
12
CAKOASSI'S INSTRUCTIONS FOR THE GUITAK
In some cases it is necessary to play on the 3d and 2d strings
with the thumb, and on the 4th and 5th strings with tne 1st
and 2d fingers. This is the case in chords, arpeggios, &c, and
even in cantabile phrases ; the notes to be played with the
thumb, are written with a double tail if to be played alone, and
•with the tail turned down, if double.
numb lit
attaquer la corde sans en toucher aucune autre II y a un gran
nombre de cas ou le pouce est oblige de pmcer les 3me et 2m«
cordes, et l'index et le medium la 4me et meme la 5me corde ,
ces cas se presentent souvent dans les accords, les arpeges, lei
passages de tierces, sixtes, octaves et meme dans les phase*
chantantes; les notes qui dans tous ces cas, doivent etre pmceea
du pouce, sont ecrites avec une double queue si elles frappent
seules, et avec la queue tournee par le bas, si les uties sonl
doubles.
Of Tuning the Guitar.
An A tuning Fork is used in tuning the Guitar, to which the
6th string, A, is tuned; then press the finger on the same
string at the 5th fret of the finger board, which will then give
D ; to which the 4th string is to be tuned in unison. The
finger is then to be placed upon the 5th fret of the 4th string,
vrhich will give G, to which the 3d string is to be tuned in
unison ; then place the finger upon the 4th fret of the 3d string,
which will give B, to which the 2d string is to be tuned in
unison ; place the finger on the 5th fret of the 2d string, which
will give E, to which the 1st string is to be tuned in unison.
The 6th string, E, is then to be tuned to the 1st E string, but
»t the distance of two octaves lower.
EXAMPLE.
Manicrc d'Accorder la Gnitarc
Pour accorder la Guitare on se seii d'un Diapason (petit in-
strument d'acier servant a donner le la a tous les instruments!
au ton duquel on accorde la 5me corde la ; on pose un doigt »
la 5me case de cette meme corde qui donne alors r6, et l'on ac-
corde la 4me corde a l'unisson de ce re ; on pose un doigt a la
5me case de la 4me corde qui donne alors sol, et l'on accorde i
l'unisson la 3me corde ; on pose un doigt a la 4me case de la
3me corde qui donne alors si, et l'on accorde la 2me corde i
l'unisson avec ce si ; on pose un doigt a la Sine case de la 2me,
corae qui donne alors mi, et l'on accorde la chanterelle a
l'unisson avec ce mi. La 6me corde etant un mi aussi, s'juxord* j
avec la chanterelle, mais a deux octaves d'intervalie.
5th String.
open. 5th fret
5me Corde.
i vide. 5me. case.
4th String.
open. 5th fret.
4mk Corde.
a vide. 5me case.
3d String.
open. 4th fret
.1MB CORDE.
a vido. 5me case.
2d String.
open. 5th fret.
2me Corde.
a vide. 5me case.
EXEMPLE.
-INS-
IST String.
open.
Ire Corde.
a vide.
«TH SthIKG,
open
6m e Corde,
a vide.
... I
A
U
6 Unison.
Sol UinMon,
B
Si
Unison
Unisson.
.
OARCASSI'S INSXRLOIlONS FOR THE GUITAR.
13
After having tuned the Guitar it is well to prove it by sound-
ing the following octaves
Apres avoir accorde la Guitare par unissons, il est bon d<
verifier l'accord en faisant resonner ensemble les octaves wi
vantes.
£^=g
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H
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The following are the signs used by most authors who have
written for the Guitar, to indicate the fingering, and which are
adopted in this work.
THE LEFT HAND.
0, Open string. 1, Firs; finger. 2, Second finger. 3, ThM finger.
THE RIGHT HAND.
. First finger. . . Second finger. . . . Third finger, x Thumb.
The Positions.
There are as many positions as there are frets on the Finger
ooard. It is the 1st finger that determines the position in which
the hand is ; thus, when the 1st finger is placed on the 1st fret,
the hand is in the 1st position, and so on with the other posi-
tions.
GAMUT SHOWING THE NOTES, AND THE EXTENT OF
THE FIRST POSITION.
The figures placed over the notes indicate the fingers of the
left hand, and also the frets on which they are to be placed.
The open strings are indicated by 0, the 1st finger and
1st fret by 1, the 2d finger and 2d fret by 2, the 3d finger
and 3d fret by 3, and the 4th finger and 4th fret by 4.
The fingers of the right hand are indicated by x for the
Thumb, . first finger, . . second finger, . . . third finger.
Pour eviter la multiplicity embarrassante des signes par raj
port au doigter, on a juge a propos de suivre la methode adopts
par la plupart des auteurs pour la Guitare. Par consequent on
se seivira dans la suite des signes suivans pour le doigter.
DE LA MAIN GAUCHE.
0, corde a vide. 1, index. 2, medium. 3, annulaire
DE LA MAIN DROITE.
. index, . . medium, . . . annulaire, x pouce.
Des Positions.
II y a autant de positions qu'il y a de touches sur le manclit-
c'est le premier doigt qui determine la position dans laquelle on
se trouve. Ainsi lorsque le ler doigt sera place a la Ire case ce
sera a la Ire position ; quand il avancera a la 2me case on sera
a la 2me position, et ainsi de suite.
GAMME ENSEIGNANT LES NOTES, DANS L'ETENDUE DE
LA Ike POSITION.
Les chiffres places sur les notes indiquent les doigts de la;
main gauche, et les cases ou touches ou il faut les poser.
Les cordes a vide sont indiquees par un 0. le ler doigt et li
Ire case par 1, le 2me doigt et la2me case par 2, le 3me Joi^:
et la 3me case par 3, et le 4me doigt et la 4me case par 4,
Les doigts de la main droite avec lesquels il faut pincer, soiit
indiques par les signes x pouce, . index, . . medium, et . .an-
nulaire.
sS^
NATURAL POSITION.
I' 6th String.
6me Corde.
O 1 3
5th String.
5me Corde.
0 2 3
GAMME NATURELLE.
4th String. 3d String. I 2d String.
4me Corde. Sine Corde. 2me Corde.
02 3lo 3I013
1st String.
Ire Corde
0 13 4
W. V sj
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mm
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• • • 6th frei.
5 in*. Cart.
Exercises in the 1st Position.
v^*-*
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3=*=±
Exercises pour apprendre a lire les notes a la Ire
l» I*- 0 •-„ _, . .
Position.
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14
CAl CASSI'S INSTRUCTIONS FOR THE 3UITAR
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Gamut with Sharps.
Gamme. Pour apprendre & lire les notes arec les Diezes.
6th String.
6me Corde.
5th String.
5me Corde.
4th String.
4me Corde.
3d String.
Srae Corde.
2d String.
2me Corde.
1st String.
Ire Corde.
wmfmw^^^'^4
U^J-WwrFFSPFF^ti
3 01234 01234
Gamut with Flats.
6th String.
6me Corde.
5th String.
5me Corde.
Gamme. Pour apprendre a lire les notes avec les Beino's.
4th String.
4me Corde.
3d String. i 2d String.
3me Corde. j 2me Corde.
1st String.
Ire Corde.
1
I
i iM4 '^m*'^^
f^m^ir^^r^i
Exercise with Sharps and Flats
4 O 1 2 3 01234 01234
Exercise pour apprendre a lire les notes avec les Diezes et les Bemols.
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CARCASSI'S INSTRUCTIONS FOR THE GUITAR.
15
Of the Chords.
1 he union of two or more notes played simultaneously is
ja. ed a chord.
If the chord to be played is composed of three notes, no mat-
ter on which strings, they are to be played with the thumb, Is
and 2d fingers ; if composed of four notes, the 3d finger must be
added ; if of five or six notes, the thumb must play the two or
three lowest notes by sliding from one string to the other, and
the fingers take the three other strings.
That all the notes of a chord may sound well, it is necessary
that the fingers of the left hand should be curved to act as ham-
mers, be pressed on the strings near the frets, and without af-
fecting the vibration of the other strings ; the fingers of the
right hand should be placed against the strings intended to be
struck, and not to be moved but to put the strings in motion.
Chords are always divided, or played in Arpeggios ; thus :
the notes are played one after the other, from the lowest to the
highest, but sufficiently quick to produce the effect of their
being struck together.
Des Accords.
La reunion de plusieurs notes que l'on fait entendre simui
tanement s'appelle accord.
Si l'accord qu'on veut executer est compose de trois notes
quelles que soient les cordes sur lesquelles il s'execute, on le
pince avec le pouce, l'index et le medium ; s'il est de quatre
notes, on y ajoute l'annulaire, et s'il est de cinq ou six notes le
pouce pince en glissant les deux ou trois notes basses, et les
autres doigts pincent les trois autres cordes.
Pour que toutes les notes d'un accord resonnent bien, il faut
que les doigts de la main gauche, courbes en forme de marteaux,
pressent les cordes pres des touches et qu'ils n'-empechent pas .a
vibration des autres cordes ; puis on placera les doigts de la main
droite centre les cordes destinees a etre pinc.ees, et on ne le?
relevera que pour mettre ces cordes en osciUation.
Les accords se font toujours un peu brises ou arpeges ; e'est-
a-dire en pingant les notes les unes apres les autres, mais avec
assez de vitesse pour qu'elles produisent le meme effet que »'
elles etaient pincees en meme terns.
Examples.
Chord with S Notes. Effect 4 Notes.
Effect
5 Notes.
EXEMPLES.
Effect. 6 Notes.
Effect.
a 3 Notes. Effet.
a 4 Notes. Effet
a 5 Notes. Effet.
a 6 Notes. Effet
In slow movements the chords are played, or arpeggioed
slowly, in character with the movement, which is often indicated
by this sign J, and which is placed before the chord. In quick
movements, which are to be played with energy, and require
much sound from the Guitar, the same sign is used to indicate
that the thumb must be slid rapidly and with force across the
strings which form the chord.
The Barrer.
The Barrer is made by pressing the 1st finger on two or more
strings, on the same fret.
There are two Barrers, the Great and the Small.
In the small Barrer the first finger stops but two or three
strings.
In the great Barrer, the first finger stops the whole of the
»ix strings.
To do the great barrer with ease, it is necessary to raise the
» irt, and to place the thumb entirely behind the Neck.
Dans les movements lents, les accords s'arnegent plus lenie-
ment que de coutume, souvent on les indique par ce signe J , qu*
l'on place a cote de l'accord. Dans les movements vifs et pro-
nonces, et qui exigent beaucoup de son de la Guitare, ce meme
signe place a cote d'un accord, indique qu'il faut 1' executer en
laissant glisser rapidement, et avec force, le pouce sur toutes lei
cordes.
Da Barre.
Barrer, e'est appuyer le premier doigt sur plusieurs cordes a
la meme case.
II y a deux Barres, le grand et le petit. •
Dans le potit barre, le premier doigt ne barre que deux ou
trois cordes.
Dans le grand barre le premier doigt barre tins toute c*
longueur toutes les cordes.
Pour faire facilement le grand barre il faut haiisser le poignw
et porter le pouce tout-a-fait derriere le manche.
Small Barrer.
Petit Barre,
Great Barre.;
Grand Barre (
J
m^m
L-^i
f ir
Hi
UAROASSI'S INSTRUCTIONS FOR THE GUITAR.
Of Arpeggios.
An Arpeggio is a number of notes played successively in
uniform order, and which, when united, form chords.
Arpeggios are used on the Guitar beca.ise they produce an
agreeable effect on the instrument, and as studies, they give
strength and agility to the fingers of the right hand. To execute
the Arpeggio well, before making the strings vibrate the fingers
of the left hand should be placed at once on the notes forming
the chord on which the arpeggio is to be played ; and when the
last note of the arpeggio is struck, the fingers should be raised
to pass to the next chord. This rule is indispensable ; if the
fingers were to quit the notes as soon as they are struck, the
vibration of the entire chord would be obstructed ; of which,
each note is an essential part. The fingers of the right hand
should not touch the strings, but to make them vibrate ; with
exception of the thumb, as described page 1 1.
ARPEGGIOS WITH THREE AND FOUR FINGERS.
These Arpeggios are given for the purpose of exercising
the right hand, and to establish general rules, which will serve
to show the fingering of that hand in all similar passages.
Each Arpeggio ought to be repeated several times in succes-
sion, ana as soon as the pupil is able to execute several with
«ase. he may undertake the study of the eight Arpeggios at page
19, without however abandoning the study of these.
The chords written at the top, are those from which the 22
lollowing Arpeggios are derived.
Des Arpeges on Batteries.
On appelle arpeges ou batteries, un nombre de note- pincer
successivement dans un ordre uniforme, et qui reunieg, forment
des accords. Sur la Guitare les arpeges sont ties usites parce-
qu'ils produisent un effet agreable et particulier a l'instrument,
comme etude, ils donnent de la force et de l'agilite aux doisti
de la main droite.
Pour bien executer les arpeges, il faut avant de pincer let
cordes, que les doigts de la main gauche soient poses simultane-
ment sur les notes formant 1 'accord sur lequel on arpege ; et
lorsque la derniere note de l'arpege a ete frappe, on leve jfes
doigts pour passer a un autre accord.
Cette regie est de rigueur ; si les doigts quittaient les notes
au fur et a mesure qu'on les pince, on empecherait la resonnancc
complete de l'accord dont chaque note isolee forme line partit
essentielle.
Les doigts de la mam droite ne doivent toucher les cordes
que pour les mettre en vibration, a l'exception du pouce ; voyei
la page 11.
ARPEGES A TROIS ET A QUATKE DOIGTS
Ces arpeges sont ecrits dans le but d'exercer la main druite
et d'etablir les regies generates qui serviront a faire distingue
le doigter de cette main dans tous les passages analogues.
Chacun de ces arpeges doit etre repete plusieurs fois de suite
Aussitot l'eleve commencera a en executer plusieurs couramment
il pourra entreprendre l'etude des huit arpeges de la page 19
sans cependant abandonner l'etude de ceux-ci.
Les accords ecrits en tete ont servi a former les vingt deva
arpeges qui en derivent.
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Arpeggios with 3 fingere.
Arpeges a trois doigts.
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Arpeggios with 4 fingers.
Arpeges a quatre doigta.
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En glissant le Pouce Bur les deux Ires notes
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The thumb gliding from one string to the other.
En laissant glisser Ie Pouee de corde en corde.
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No. 22.
To facilitate the study of the eight following Arpeggios, and
the execution of the left hand, I have written on an upper stave
over each bar, the chord which is to be played Arpeggio, as
written on the stave below. The pupil will see at a glance,
Ihe chord composing the Arpeggio, and on which notes the
fingers are to be placed.
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Pour faciliter I 'etude de ces huit arpeges, et le mecanisme de
la main gauche, j'ai ecrit sur une portee superieure dans la
meme mesure, les accords plaques qui sont detailles audesse is
en arpeges. Avant d'executer les arpeges, 1'eleve saura deja o.i
sont les accords qui les composent et sur lesquels il faut posei
les doigts parunseul mouvement. Les points qui lient les notes
The dotted lines from one chord to the other, serve to show d'un accord a l'autre servent a indiquer que le doigte de ces
lhat the fingering of these notes has not changed, and that the J notes n'a point change dans l'accord suivant : les doigts qui les
fingers which press them must remain unmoved. ' pressent doivent rester immobiles.
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The Guitar may be played m all keys, but, like all other
instruments, it has some keys more favorable to it than others.
Those which are most suitable, are C, major ; G, major ; D,
major and minor ; A, major and minor ; E, major and minor :
and F, major. The other keys are difficult, because they re-
quire too often, the use of the Barren I have therefore placed
in the first part of this work, the Gamuts, Cadences and Exer-
cises only in those keys most in use.
As I think it important, however, to be acquainted with ail
the keys, and that they should be practiced, I have placed ip
the second part of this method all that I have thought necessary
!oi this purpose.
La Guitare peut jouer dans tons les tons, mais comme torn
les instruments, elle a ses tons favoris. Ceux qui ltd convien-
nent le mieux, sont : Ut majeur, Sol majeur, Re majeur e.
mineur, La majeur et mineur, Mi majeur et mineur, et Fa na-
jenr,
Les autres sont difficiles parcequ'ils necessitent l'empioi trop
fiequent du Barre ; aussi je n'ai note dans la Ire partie de ce
ouvrage, que les Gammes, Cadences, Exercices et morceaui
progressifs dans les tons les plus usites
Cependant comme je pense qu'il est important de spnnaitre
tous les tons et de s'y exeicer, j'ai place dans la 2me partie d«
cette Methode tout ce que j'ai cru necessaire pour arriver a c«
'^sultat.
H2
CABCASSI'S INSTRUCTIONS FOR THE SLITAK.
Gamuts, Cadences, Exercises and Preludes.
To facilitate the execution of the Gamuts, it is necessary
i sat the fingers of the left hand should he held sufficiently sep-
f;ated, and so placed, that they may he put on, and taken off
tie strings, without moving the hand.
A finger which is placed on a note, should not be moved but
to finger the note following, unless this note should be an open
string.
In Gamuts ascending, when passing from one note to another,
the finger must not be raised too quickly from the string, lest it
vibrate if left open too soon.
In the following Preludes and Little Pieces, care must be
aken to sustain the notes, as well in the Bass, as in the other
parts ; this caution is necessary, in order to obtain a full and
harmonious style.
Gammes, Cadences, Exercises ct Preludes.
Pour faciliter l'execution des Gammes, il faut que les doigu
de la mam gauche se tiennent assez ecartes, et places de maniere
a pouvorr les poser et les lever sur les cordes, sans deranger h
main.
II ne faut jamais lever ledoigt place sur nne note, qu'en doig-
tant la note suivante, a. moins que cette note ne se fasse a rie.
Dans les gammes montantes, .'orsqu'on passe d'une corde i
une autre, il ne faut pas retirer tmp vivement le doigt de la corde
que 1'on quitte, afin d'eviter la vifcrat^n de cette corde a vide
Dans les Preludes et les peats morceaux suivants on aura
soin de bien observer la tenue des iotes, tant a la basse qu'aia
autres parties ; cette condition est i. «essaire pour obtenir un jeu
plein et harmonieux.
Gamut.
Cadence.
Key of C Major.
3 2 3 2
1 3
En Ton d'Ut Majenr
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CABCASSI'S INSTRUCTIONS FOR THE GUITAR
Key of C Major.
Eh Ton de Sol Majeur.
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CAECASSI'S INSTRUCTIONS FOE THE GUITAK
Key of D Major,
To facilitate the fingering in the Gamut of D Major, it is
jecessarv to advance the left hand to the second fret.
En Ton de Re Majcur.
Pour faciliter le doigte dans la Camme du .or. ce Re n.ajen
il faut avancer la main gauche a la deuxieme toac le.
to — ra~»~* ~~i I ' ' r
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When two notes which are to be played on the same string
neet, the upper note must be taken as usual, and the lower one
m the next string.
The D on the second string, the B on the
hird string on the fourth fret.
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The O on th ) ' st string, the E on the 2d string
« the <hh fr;t.
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Lorsqu'on trouve deux notes ensemble qui toutes deax sa
doigtent sur la meme corde, on fait la plus haute a sa place ordi-
naire, et la plus basse on la doigte sur la corde suivante.
On fait le Re sur la 2me corde, et le Si sur la
3me corde a la 4me case.
I
On fait le Sol sur la chanterelle, et le Mi anr la
2me corde a la 5me case.
vlARCASSI'S INSTRUCTIONS FOR THE GUITAR.
37
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Key of A Major. 2pos; Koi Ton d« La Majear.
Gamut jpi- ,-— ^ir -_*_ >- -F-F~ f— i»-» =, =, i .
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Key of E Major. En Ton dc Mi Majcur.
Gamnl. %*g*
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CARCASSI'S INSTRUCTIONS FOR THE GUITAR
Key of F Major.
1* 13 2 3 23, 13
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CARCASSI'S INSTEUOTIONS FOB THE GUITAR
Key of A Minor.
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2 3 2 4 12 4
OAKCASSI'S INSTRUCTIONS FOR THE GUITAfi.
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CARCASSI'S INSTRUCTIONS FOK THE GUITAR.
Guitar .nisic aimost always requires several parts, which
ncreases . te difficulty 01 execution, unless the pupil has already
acquired the habit of moving each finger of the left hand,
separately and independently. The following 22 exercises are
v?ry useful in obtaining this object. Each of them should be
t-p«ated five or six times.
Whilst the pupil is practising these exercises, he may at the
«ame time apply himself to the first twelve little pieces of the
bird part, and afterwards to the exercises of the second part.
Continue with the same 6nt;ers of the ri»ht hand.
. 5~
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La musique de Guitare exige presque toujours p1us«su.i
parties, qui presenters des difficulty d'execution, lorsqu'on n'a pa»
acquis a l'avance, 1'habitude de diriger chaque doigt de la irair
gauche, par tine impulsion, independante des autres doigts.
Les 22 exercices suivans sont tres convenables pour arrivir i
ce but. Chacun de ces exercices doit etre repete cinq ou su
fois de suite. L'eleve pourra, tout en travaillant ces exercices,
entreprendre d'etudier les douze premiers petits irorceaux df
la troisieme partie ; et pourra suivre ensuite les exercices de ia
seconde partie.
Suivez avec les memes doigts de la main droite.
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CARCASSI'S INSTRUCTIONS FOR THE <*UITAR.
*o. 2f23trfEElE3E3E3f
40
oARCASSI'S INSTRUCTIONS FOB THE GUITA*.
SECOND PART.
SECONDE PARTIE.
Of the Slur.
Two or more Notes pVj>yed successively, of which only the
first is made to vibrate by (he right hand, and the others by the
mere pressure of the fing' rs of the left hand, are called slurred
notes.
Slurs are performed both in rising and in descending. To ex-
ecute slurs of two note?, in rising the lower note is to be played,
and the finger of the left hand descends like a hammer and
with a good deal of fo/ce upon the higher note, which must
sound from the mere impulse of this finger.
In descending, the higher note is played, and drawing the
finger which pressed it, a little to one side, so as to touch the
string a little, the lower note is made to sound. If the latter
note is not on an open string, it must be prepared before the
higher note is made to vibrate.
The nix is indicated by this sign ,. ^ placed over the
acres i"/j;.ch are to be slurred.
&/.UES OF TWO NOTES RISINtt AND DESCENDING.
Play the E and place the first finger on F.
Pioce lo Mi et appuyez le ler dotgt sur le Fa.
Des notes coulees et liees.
On appelle notes coulees deux ou plusieurs notes feites sue
cessivement, dont la premiere seulement est mise en vibratiot
par la main droite, et Ies autres par la settle pression des doigts
de la main gauche.
Les coules se font en montant et en descendant. Pour exe-
cuter des coules de deux notes en montant, on pince la note
grave, et on laisse tomber le doigt de la main gauche, en forme
de marteau, et avec assez de force, sur la note aigfie, qui doit
resonner par la seule impulsion de ce doigt.
En descendant on pince la note aigae, et en retirant le doiet
qui la comprimait, un peu de cote, de maniere a pincer un peu
la corde, on fait resonner la note grave. Si cette note ne se fai.
pas a vide, il faut qu'elle soit preparee avant que la note aigi*
soit mise en vibration.
Le coule est indique par ce signe „ ^ place sur bs note*
qu'on doit couler.
COULES DE DEUX NOTES EN MONTANT ET EN
DESCENDANT.
wr^^y
Play the F and draw back the finger to sound the E.
Pincez le Fa et retirez le doigt pour faire entendre le Mi.
^51
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Play the B and place the 3d finger on C.
Pincez le Si et appuyez le 3e doigt sur l'Ut.
rr^
Play the G and draw back the finger to sound the F.
Pincez le Sol et retirez le doigt pour faire entendre le Fa
HS
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Ther«- are also slurs of two notes, in descending, on two dif-
ferent strings, which are called " Vibration Slurs." To perform
ih*<m, play the higher note, which in this case is almost always
open, then str ke hard With the finger of the left hand the note
.vhich is to br slurrel, and which will be sounded by the mere
impulse of the finger
— "^jr -°-
On fait aussi des coules do deux notes, en descendant, sui '
deux cordes differentes, qu'on appelle coules par vibration
Pour Ies executer on pince la note aigue, qui dans ce cas, est
presque toujours a vide, puis l'on frappe fortement at ec le doigt
de la main gnuehe la note devant etre coulee, et qui tesonnera
par la seule impulsion de cc doigt.
CARCASSI'S INSTRUCTIONS FOR THE GUITAR
in rising the effect of the slur is also produced by sliding the
ihumb of the right hand from one string to the other ; in this
rase the first note must be struck rather hard and the thumb
lide with de'icacy over the next string.
41
En montant on produit aussi l'effet du coule en glissauit le
pouce de la main droite d'une corde a l'autre ; dans ce cas i
faut attaquer la premiere note un pen fort et glisser le pcuw
avec delicatesse sur la corde voisin«
Play the E and strike the 3d finger on D.
Pincez le Mi et frappez le 3e doigt aur le Re.
same.
mmm
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Vibration.
1
i
Slide the thumb.
Gliasez le pouce.
same.
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CARCASSI'S INSTRUCTIONS FOR THE GUITAR.
Slurs of three or lour notes are made in the same manner as Les coules de trois ou quatre notes se font par le meme more*
-ose of two notes, by setting the first note in vibration with que ceux de deux notes, en mettant en vibration la premier,
the right hand, and laying on or withdrawing, according as the note avec la main droite, et en appuyant, ou en retirant succes-
suns ascending or descending, as many fiugers of the left sivement, selon que le coule est ascendant ou descendant autanl
rand as there are notes to be slurped.
Slurs of Three Notes.
Shar^ the Mi, and then place successively the first finger upon the Fa, and
!ke «Mrd k. ton the Sol.
de doigts de la main gauche qu'il y a de notes a couler. Er
descendant il faut toujours preparer les notes qu'on doit coiilei
excepte celles qui se font a vide.
Coules De Trois Notes
Pincez le Mi et appuyez successivement le ler. doigt sur le Fa et le Se mi
le Sol.
Example.
Step the Sol, and successively remove the fingers to produce the Fa and I Pincez le Sol et reUrez successivement les doigts pour faire le F. et U
ielfc.
JEfeE3jEE¥=£sfe3g^||g*=ft
Scales, too, may be executed in slurred notes, ascending or
loscending, by a mere sliding of the thumb.
In this scale you set the open string to vibrating, with the
Ihumb, letting it slide fro.n string to string.
On peut aussi executer des gammes en notes coulees, tant en
montant qu'en descendant, d'un seul trait.
Dans cette gamme, on met la corde a vide en vibration a?M
le pouce en le glissant de corde en corde.
Example.
HipppEiggiSiiiii
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In this last you sharp the first note, and slur all the rest
| Dans celle-ci on pince la Ire. note et 1'on coule tout le rente
~ vlbra ~ * T 2
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vlbr. vlb
Doubts notes a. jo may be slurred, but only two by two
Example.
sra^ffi
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On coule aussi les doubles notes ; mais seulement d« dent
en deux.
•^- 4
s^iiis
UAV.jASbi S INSTRUCTIONS FOE THE UTJITAK.
43
The Slide.
The Slide is performed by one finger of the left hand, which
glides along the neck in passing over all the frets from the 1st
to the 2d note, after having struck with the right hand the first
»f the two notes. The slide produces a good effect on the
guitar, because it imitates the sound of the voice. It is indicated
bv this sign
Da son Glisse on Porte.
Le son glisse on porte, s'execute par un seul doigt ae la man;
gauche, qui glisse le long du manche en passant sur tomes lei
touches de la premiere a la deuxieme note, apres avcir attaqiw
la premiere des deux notes avec la main droite.
Le glisse produit un bon effet sur la Guitare, parcequ'il imiU
le son porte de la voix.
II s'indique par ce signe
Slide the 2d finger from F to A.
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Slide the 3d finger from D to B.
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Glissez le 2e doigt du Fa au La.
Slides are also performed in double notes.
Glissez le 8e doigt du Re au
I
k
On fait aussi des glisses en doubles notes.
Small Notes or Appoggiatnra.
This name is given to a small note, which sometimes is of
half the value of the note which it precedes. In this case it is
the ong Appoggiatura. and when it has but a very short dura-
tion it is called the short Appoggiatura.
To distinguish the short from the long Appoggiatura, the
former is crossed at the end. The small notes are played the
Bame as slurs, giving an impulse to the small note with the
right hand, and making the principal note sound with the finger
of the left hand.
When a common note, preceded by a small note, is accompa-
nied by one or more parts, the small note must be played with
the accompanying parts, and the principal note be slurred imme-
diately.
Des petites notes on Appoggiatnres.
On donne ce nom a une petite note qui souvent prend b
moitie de la valeur de la note qu'elle precede. Dans ce cas,
c'est l'appoggiature longue, et quand elle n'a qu'une tris courts
duree, on l'appelle appoggiature breve.
Pour distinguer l'appoggiature breve de la longue, on l'ecril
par une croche coupee d'nne ligne transversale. Les petites
notes s'executent comme les coules en donnant l'impulsion de la
main droite a la petite note, et en faisant resonner la note princi-
pal avec le doigt de la main gauche. Lorsqu'une note or ];-
naire, precedee d'une petite note, est accompagnee d une 3i)
plusieurs parties, il faut pincer la petite note avec .es parties
d'accompagnement et couler immediatement la note principile.
Long small notes.
Petites notes longues.
Short small notes.
Petites notes breves.
Written.
flayed.
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Gfloall nrtia to be Oayed with the notes of Accompaniment Petites notes frappant avec des notes d'accompagnement.
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flAKCASSI'S INSTRUCTIONS FOR THE GUITAR
Double Small Notes, or Apnoggiaturas. i Pctitcs Notes Doubles.
Two Appoggiaturas are executed in the same manner as two Les petites notes doubles s'executent par le meme mcyen q «
pnncipa notes slurred; only with more rapidity, since the lat- les coules de deux notes: mais avec plus de vitesse paicequ'on
rer recede their full value, whereas the small notes borrow | donne aux notes coulees toute la valeur qu'elles represented.
■~mewhat from the duration of the prmcipal notes. I tandis que les petites notes ne s'executent qu'a-1X depens de a
I valeur des notes principales.
Indication-
Execution.
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;hort pieces for the practice op awog-
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PETITS MORCEAUX POUR EXERCER LES PETITES
NOTES.
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^ ' f^ ~f!^ -&rr
«7
-p-
"p"
I*--— -jr
7 7 Is*
i* f^ i ^ r^ T-- = ?*5
p y-r
CARCASSI'S INSTRUCTIONS FOE THE GUITAR.
Of the Gruppetto. r Bn Gronppetto.
This is the name of a group of appoggiatura notes, composed I On nomme ainsi un groupe de petites nc-.es compost de M
)f the principal note and its auxiliary note immediately above
ind below. It is indicated and performed in three ways •
1. By beginning with the principa. ncis, A (#N "X-.)
2. By beginning with the auxiliary above, B (^-.)
3. By beginning with the auxiliary below, C (-V.)
This is caJed inverted in most treatises, and indicated (j>.)
rjote principale et de l'auxiliaire superieure et inferiaire. Q eet
imdique et s'execute de trois manieres :
lo. En commengant par la note principale nvec una jeliK
note, A (JV **<.)
2o. Par l'auxiliaire superieure, B ('^.)
3o. Par l'auxiliaire inferieure, C ("^•.)
Indication. /
Execution,
EXAMPLE.
c
13
Gruppetto beginning with the principal note.
Gruppetto commengant par la note principale.
=£
./ith the note above.
Par l'auxiliaire superieure.
With the note below.
Par l'auxiliaire inferieure.
M
^ 'IT Est
^c
tst
S:"
I
I
If a little note of the gruppetto is to be altered by a Sharp or
f'.at, it is thus indicated for the auxiliary above, (,£,,) and thus
or tho auxiliary beiow, (^.)
Si une petite note du grouppetto devait etre alteree par un
dieze ou bemol, on l'indique ainsi pour l'auxiliaire superieure
(■4L») et Pour l'auxiliaire inferieure, C5".)
Indication.
Execution,
-I *_
With the upper auxiliary altered.
Avec l'auxiliaire superieure alteree.
With the lower auxiliary altered.
Avec l'auxiliaire inferieure alteree.
BEE f^r1^^-,
-i^i
JE*
tmz
|S
JSl
1
Wlien tne Gruppetto stands between two piincipal notes, it is
i3 ways commenced with the upper auxiliary.
Qnand le grouppetto se trouve place entre leux note* ro •«
commence toujours par l'auxiliaire superieure.
Indication.
Kiecntion
4r^ — a
M^z*
f 1
wmi
» !
I
^=^
m
4N»
OARCASSI'S INSTRUCTIONS FOR THE GUITAR.
Of the Trill.
The TriD ia where a note alternates, for a longer or shorter
lime, pncorcing to its value, and very rapidly, with the note
which is a tone or half a tone above it, and which is termed
the auxiliary note. The Trill should generally begin and end
<*ith the principal note. Every Trill should have a termina-
tion ; this termination consists of the tone or semitone below,
followed by the principa' note. (See following Examples.)
On the Guitar the Trill is made in three ways:
1. By snapping the first note, and slurring the rest of the
Trill.
% By snapping the principal, and slurring the auxiliary
note.
3. By taking the two notes upon two different strings with
the left hand, and snapping them with two or three fingers.
Da Trille on Cadence.
Le Trille est une note qui selon sa valeur, alterne plj» 01
moins longtems, et tres vite, avec une autre note qui se trou
un ton, ou un demi-ton plus haut, et qu'on nomme note auxu
iaire. Le trille doit generalement commencer par la note
principale, et finir avec elle. Chaque trille doit recevoir une ter-
minaison ; cette terminaison consiste dans un ton ou demi-tor
inferieur suivi de la note principale. (Voyez les exemplei
suivans.)
Sur la Guitare on fait le trille de trois manieres :
lo. En pingant la premiere note et en coulant le reste A(
trille.
2o. En pingant la note principale et en coulant ia note anx
iliaire.
3o. En preparant les deux notes sur deux cordes diffe'rentei
avec la main gauche, et en les pingant avec deux ou trois doigt
Indication. ;
Execution.
cfcfc
^W-
1st manner.
Ire maniere.
— & —
m
2d manner.
2me maniere.
— &
Termination.
Terminaison.
m
Indication.
Execution.
3d Manner.
Sine Maniere.
• Just so with an accompaniment ;
• Us la mfinw) maniere avec une partle I *
\ |v d'aceompagnement. > *
1
351
Fingering of the Right hand.
On le doigte avec la main droite.
g^jgjgj^
-£-
a
Frr*n*rH*rn^rr r s i je
w r
m
m
When the short duration of the note on which the Trill is
made, or when the following note prevents a termination, it is
no longe a Trill, but merely a note trilled.
Lorsque la courte duree de Ia note sur laquelle on tan i»
trille, ou la note suivante empeche de faire une terminaison, m
n'est plus alors un trille, mais simplement une note tril t«.
Indication.
Execution.
Usually written.
Signes usit£s.
T
CAKOASSI'S INSTRUCTIONS FOR THE GUITAB.
47
Of the Mordente.
This ornament is a fragment of a Trill. It is made upon long
mt short notes ; but has a particularly fine effect upon the
latter ; it is indicated by the sign, w
Dn Mordente.
Cet ornement est un fragment du trille. II se fa t sur dei
notes longues et courtes : il est surtout d'un bftl effet sur cm
dernieres ; on l'indique par ce signe. w
Indication.
Execution.
r#I
w^mm
-*-++
M
Mordente upon long notes.
Mordente sur des notes longues.
Mordente upon short notes.
Mordente sur des notes courtes.
t±D
S
S^^E^^Pfr^
Aidantino.
•f
jg^jjg^^Sfe^
ra»
v r
,T w.
I
i m. m — r-
Muffled Tones.
To damp or smother the sounds, you have only to placs the
fingers of the right hand upon the strings just snapped, after
illowing them to vibrate during their written value, (whhh is
lere a sixteenth.)
' Chords of five or six notes are sharped by laying the palm of
he right hand upon all the strings, near the rosette.
Sons Etonffcs.
Pour etouffer les sons, il suffit de poser les doigts de la mail;
droite sur les cordes qu'ils viennent de pincer, apres les avoit
laisse vibrer pendant la valeur qu'elles representent qui est d'un
seizieme.
Les accords de cinq ou six notes s'etouffent en posant la pan1
me de la main droite sur toutes les cordes, pres de la rosette.
tostcnuto.
SEE
^
i
- *' i-
"-J-f-y— 4f
*rt 1 I -r j J ti-L-f *
:a#
1-i
=FS
**-
£11 n y y ST 7 7
-•- S 7~
-y-^
-7—
*f
-»-s-
~ •> / _j- y ' '.*
s y
s y #f*~l~7
r
A
3
4
/
f
Thumbs.
Pouee.
-7-7-
«fc
±E
■g-r y
z
y y
48
CARCASSI'S INSTRUCTIONS FOR THE GUITAR.
Positions.
There are twelve positions on the finger-board of the Guitar ;
nmong those there are five which are called J rincipal positions,
its they are most in use. and a knowledge of them is sufficient
-o get acquainted with the others.
These positions are the 1st, 4th, 5th, 7th and 9th.
The study oi the Gamut, of the exercises and the following
pieces, in those different positions, will be sufficient for this
purpose.
GAMUT IN THE FOURTH POSITION.
Positions.
II y a douzj positions sur le mane he de la Guitare ; para.: o
nombre il y en a cinq qu' on nomme positions principales, par
cequ'elles sont les plus usitees, et que leur connaissance suffi
pour donner l'intelligence des autres.
Ces positions sont : la Ire, 4me, 5me, 7me et 9me.
L'etude des gammes, exercices, et morceaux suivants, a cei
differentes positions, suffira pour arriver a c.e. resultat.
GAMME A LA QUATRIEME POSITION,
5=*
6th String.
6me Corde.
5th.
5me.
4th.
4me.
3d.
Sine.
2d.
2me.
1st
Ire.
w
wrf^
5=?
m
iPiffi
i
fe^
i
Fiercise. j£^r-*p-
J^P&±^
s
?^
a^^fH^ff^fe
th.
4th Pos.
Walt, j^^
^T-
l^h
=2=2-
n
s=m^
s^m
fEEES
-f—r
=£^P=
mfl
S=
=& — uj — y y — ^
&
g^gga
^
CS33t
f
« •-
^
J=^3-W
D.* C. 8l
U
CABCASSI'S INSTRUCTIONS FOR THE GUITAR
Gamut in the Fifth Position. | Gamme A" La Cinquiemc Position.
49
6th String.
6me Corde.
4th.
4me.
4th.
4me.
Sd.
Sine.
2d.
2me.
1st.
Ire.
i^^ff
=F^tF=5=F J II j ' *=tFT
-J- -+■ » 3 4 13 4 1
f 4 1
S^I
^
SF^ff
3 12 4
Exercise.
r^f^M^F
3t=t
B^£
^3 ' J J J
S
t
-#— *
-d-
* i
^■e
I
4th Pos.
Great Barrer.
Prelude.
^=S
i
J I " !
3=^ro
»»-
SE
* ; w *-*-*-*-
IS)-3 fr-
r
3d Pos. 1st Pob.
1 I I I1
bt
s
I I I I I"
3$
HI
* <
^§5
^H
-^
■J
5th Pos.
jlndantino z:£:3fc:
^5
mosso.
-* — m-
tt*F^T)
2=E
5^j^^=n-^^=|
P^S
pi 1
1 mf
P
y
1 mf
/I y
J -S- f J y i
i =d
(T — F-\ — E
_L_
^f1
t 7
y ggTC
^ft^Jt^^^^^Ji^
J=i
i
Hrf*^i
7 m/
1
-»■ y »
y ^
i^te
u^
£§=!
5S
B
•«-#■
SH
ea
^^*3- D.C. iS
p
s
rri
,*- y
50
OARCASSI'S INSTRUCTIONS FOR THE GUITAR
Gamut in the Seventh Position. | Gamine a la Scptieme Position
«th String.
6me. Corde.
5th.
5me.
4th.
4me.
3d.
8me.
2d.
2me.
1st.
Ire.
r ; 4
^
£
Jr — o-
— V ft-
i4M
m
Ksereise. W^
e^zzjz
r^S
S
U
5££k0M^M
*-#-•-
=£
mmm
[""■L^X
S*
£^
■g=*
L_d d
# — L—j.
7th Pos
6th Pos.
t tO— f i«s ft
Prelude.
sr6-
J3
.-□.
»E^=&^
isizEzh:
-^ j_ i i : ^3
I
1st. Pos.
f
^^^^s
Allegretto.
7th Pos.
§iSP
F
3"
i=^=i=
=^3
f
^3
JFS *iZ ^?
S-T-
&.J
r~
IS
J J^a
j i r
4fes
^
^b%^=4
— -3-» 0
I
a
JZp
i
,fc^=jUlTJ^-r3T ^^,rfm
=1
i
f
i R
f
CABUASSI'S INSTRUCTIONS FOR THE GUITAB
Gamut in the ninth Fvflitin. Gamut a la rariSme /ositimm.
51
r~t
II
^mmm^m
££jt£^
11
134 134 13 124 124
f »
££fe£
P*^
^^-^^^E^j
-W-
g^l^f^i.
9th Pos.-
7 th Pos-
Prelude, zfcfc*:
4th Pos-
2 I 2 4
f — r* Lmm-mmmM-— p" ~ mmmmmmmi i^g
iSt
8*
"
^M^kk^^^m
r
9th Pos.
i.legretto.ft^^r t
f
w
iSEES
#/
-P-
■P-
. ^ &n j ^u^MkM^fziMMiMJkMM
i
£
i
-r-
-r-
=*=mC
r ^ ^ ^ ^ 7_rv t TV
1
I
r
* 5?
i
^^gJiJii^vT;.,^ r ,tt4
i
= A
-/=*
^ r
— =nryy _ , — .
§1
j-2
OARCAPSI S INSTRUCTIONS FOR THE UuiTAR
There are cases where ve profit by a note played upon an
open string, to pass with greater facility from one position to
mother, this note is indicated by a (o) which is placed over a
wrte
9th Pos
1st Pos. 0
II y a des cas ou I 'on profite d'une note executee sur une corae
a vide pour passer plus facilement d'une position a l'autre, cett«
note est indiquee par un (o) que 1'on place sur la note meme.
ftample. J^^rrfgS™
SthPos... ■■■■■■■ ...... 9lhPos. o l8tpo8>
lilmliiiiSiiif
"Sr
m
T
Sometimes the first finger is drawn back one fret, without the I Quelquefois, dans une position, le ler doigt recule en arrier.
.ontiou of the hand being altered on that account. d'une touche sans que pour cela, la main quitte cette 'position.
9th Pos.
Example.
3-J55 j. d-A J553.J553
■?&*?'— — r-a-r-r-Ti— i£
■Gf-
31
:g El^EEzEEEEEEEEE^^-^lk
The four following pieces are written so that the pupil may
go through the different positions.
T
Les quatre morceaux suivans sont ecnts pour apprendre i
parcourir les differentes positions.
Allegretto. iJSF*ji|=§=
4th Po>.-
.a
4=i
-•-•-
g r
T"
W-«-j
p
2 */ -"
4th Pos.
W~+"1 ■ 1st Pos. I
4th Pos,
2d Pos. 9th Pos.
I I
~sr
9th Pok
H.^3
CARCASSI'S INSTRUCTIONS FOR THE GUITAR.
53
flth Pos.
illegr«tt«J5:|
Cj
WOZZZ^iWOgZJ.
■|ipp-
W?/
IT
T~ r
--d-H-d-j— L-L
lfit Pos.
i
'-* - =£= Tr-fg^-H
-P' Fin. I<^ ^
T— I
~| 1 ZZ[
J I II i
:j=i — 5=
i~* — c
-m>-
S~-m^
•cgz.
— =cr e
3&E*E
/
C M "
5th Pos. ■
I I !
■n
if ^ ^
:q^=l
-» — P
i i
1 » wi *n
P
=A
~^E^
-i »i
7 th Pos . • • •
M T <= — ^&- ^-^ ^ IT — —
Allegretto.^ jjEzr
7th Pos.
r— — a-= — p =j— 9 • 0 «1 ~*l » • » • * • _*
3 I*
f- f-
-» r
1* Si
m
*E*E*=^
: 2d Pos.
^£
lrlj> 1±±_ A±^^J^_
^--
z_j — ~ — | — _ ji — — — g — — -
zr *~5T» «i _. _-
"p*
f- T
5th Poa 7th Pos.
if—.,, .m. 0 *i ~-T" ZZ. "" ^^" ^p • ^>
54
CAECASSI'S INSTRUCTIONS FOR THE GUITAR.
Walti.
9th Pos. -J.
— S I =
"3- ^#j.^^i
i>? ^
f"'
T
T
fc*
5th Pos.
12 ~ JT1
At
"r
7™X
a*
^2^
jEE"E -y^-i*— f— *-]
r *^
! 9th Poi., C^SS- -/""j"*"! C H ~ ! j J i -/
&e=t=
i
1st Pos.
4th Pos.
Barre.
— -j»" -m- M ' — / 7 pi
1st Pos.
r#-*
:«=*
PggfJEg
I 4th Pos.
M ,»„-_ » *_
=3*
-* — •-
¥=£=*
t=£
-p- ##- Tar T r= 7 ' 7m/
r P it
U
^fe^^^^fSiitfi
— ^
9th Pos..
gggg^rg^ijgl «ra , ^ 3 i±l rwz rz
5th Pos.
m=m
i
7*
,^-fa^
am. ~d\ '.d.
id Pos.-
P^^gP
nt
**- =S
*F
_c
^
r -,
J J
te*
bar.
ISP**
^Jde^^l ^"n .fi Jii^^^s J jsq
p
r
"" • • • ist Pos.
ipilllll^IliiFi^
-r*
S^
'
f
fW^m^wgmm
CARCASSI S INSTRUCTIONS *OR THE GUITAR.
55
-S"
^
V-J-
m
tS
^Sg
33-
rr^r
7th Pos.-
ffl-S"
^SeI^e
L^B^553
" "^gH^Jg3'
4#-
/3
^B^
9th Pos.
Bar ^—. aH« p^~~
* j id. j. ITa a m* 5?^^
S^p^es^ - , j *J i— =^
-*-jtj -#•
2d Pos.-
S^SS
7th Pos.-
^
I
S^j^^^^
I
IHHl
9th Pos.-
5b:
^FtT:
5 j «^~5 ^-1 r> ±lTi J. . j aT?
a*-
m
i
mj
5th Pos. ■
T3— 1
' f T
£Q
?
x=fc£=e=te
2d Pos.
*#*;
g
#-#-
^t
a
-• m-
9th Pos. f"
-± *'
i. :*: :*: A
yj
3. i
P — _— E
E3EEEE
Minor. •
LH
1st Pos.
S3:
j^p^^uS^ J-, g
Dalee. i
lA3i
-5-5 J 3 1 j^, v
js_uSl3^
50
CARCASSI'S INSTRUCTIONS FOR THE GUtTAR.
+-M
^~r~3 » — i t— * * — *-
r r
r
JiV -9- le Poo.
"r
* / y
=i=*
s^=
* — •-
•M-^l
sp^
fi^tfgBI
9th Pos-
^
f ^
I Dolce.
.jn^nn ^"g~g: -HT"]_
-*«L
r r
r
■p"
MAJOR. 9* Pos--
^-tf^i ^^pC^^iS^jji^sjTa
ig
-r
T
r r
5tn Pos-
P"
~r
^^~l,iL^i
T~2 j
2d Pos-
1 =
3t=Zlt
TT. J
i*=^*=
-*-Ph»
E^
B
9th Pos-
i- f r r
s=
■ 1st Pos 9th
- + f — 1-*-2 a 1— — 1
-r r
9th Pos. Ecart
7^
?tb Pos. 2d Pos.
w
9th Pos-
^ gg;
r
ibSS:
r^?
s^
7th Pos.- • 2d Pos.
r#-#-
F
IPfeifef
r
*• •-
r
?
n» i»-
-# * — •-
2_-
:h
r
"IF
r
•4 -ni
r
j
-g — *-
r
ST
?=3=
3m . -^HT~'
f*
r
GAROABSI'S INSTRUCTIONS FOE THE uulTAR.
57
Of Double Notes.
On the Guitar there are passages of double notes ir thirds,
lixths, octaves, and tenths ; to facilitate their execution, it is
necessary to slide the fingers as much as possible, in passing
from one fret to another.
In these first exercises the fingers which are to slide are
marked by small lines placed between the numbers, to indicate
tbe fingering of the left hand.
Gamut in Thirds.
Des Doubles Notes.
Sur la Guitare, on fait des passages de doubles notes en
tierces, sixtes, octaves et dixiemes ; pour en faciliter l'execu-
tion, il faut, autant que possible glisser les doigts en passant
d'une case a l'autre.
Dans ces premiers exercices, les doigts qui doivent glissei
sont marques par de petits traits d'union entre les chifFres wi
indiquer le doigte de la main gauche.
Gamme en Tierces.
F # ff CS 2^ X 8-88-8-8-8 8-8-8-3-3-8-3 1 4 2 '0 I [ [ f
I '. 1 a ■ . , 1 * 2
1-1
Exercise.
o 3 1
Si
"i-W
r
3d Pos. I
r 4*
IS
It
yr "[ f f r r jtft&^ ^
-=rft xf- r-r^-r f [>— i" r r
-#■
-*s>
-ip*—
3
-a»-
:F
r - r
El!iEJEt-
fe
4,
-1-
3fe=
zm,-zr— zrz =
r
■t=
12
m^
"?3~
E£
^B
Gamut in Sixths.
4
Si
~ % ^- r 7 T
f^
4-42144 Gai
2-2 3-3-3-3-3-3 »
Gamme en Sixtes.
I L -i 4_
^3
^Pif|^gE:3
-p-r
~r
Exercise. 4p£
a
r
i^
a b 3
2
r
f i*~ f1
8^**l
3=2 J
?
iff W-J
jjgfA ,«Ug^L
J J 2 ?
2-
3 19-3 3 _ ^J^*-*^ ' - ■ J*
58
OAROASSI'S INSTRUCTIONS FOR THE GUITAR.
_-Jr-S 3 — ^— 1 I 1 ?\~ * I 1 T— I
Gamnt in Octaves.
4-4-4-4-4-V# 4 - 4 - 4 - 4GammC ** ^k^
4011 J-i^^~^±l^ I * o
„-^i o 2, I IL J *L~*~ ~ -*- -«L ,, I 4 1 o _ o 1
^ttt I C ' '* * ° 1-1-1-1 -i-^-i^t-t rf f r -ryffff
IT t 3 ° ° a & I £ t a
4-4-4 i ,
Scale in Tenths.
damme en Dixiemes.
4-4----1 4
- o 1 4 9 1, «j o 1 I J J J. AI^ J. J I I 1 o 4 1 !
fo 1 8 ° 3 3 323 2 3
flABOASSI'S INSTRUCTIONS FOB THE GUITAR
=»- 2 2 £il Z=- 1-1 2 1
# r r i i . r i i
_____ :==" 1i-_li_i_L-_i ! - 1 B ?
P a - a "^^^"zr: — ~Lz±-8-=nr=nr- ^-ir^-^- _ _ '
r -p- "»
-i-i -! a.^*--! ii--- 2r-i__i 2
' 2-21-1 2^1-1
^ ~~^: ~ ~ _ s 1 F^r
"•/i»: -p1 1st f F" "f
, i i fi-y~r jiii J^v 'r-2 ~i f> 'i — m 'fl
Eees
t~ r
T
f~ T
^ s- a I— F F— — x^.— s-=-3— 2— ^ "rz: •— p
r r ' P F" i '
2-2 42 4__2 - 2 2 4 4 2 4_;,^ 3
LX2-J ^^^ 3_"3 "C---^ U-p^3 3 1 3-3-3
2-2-2-2 2-2 , 2-9-2-3 4 2 28 2 - 2
: - 3 3 1 3 ~
2-2-2-2 2-2 _, 2-9-2-2 _____ 2 3 g. , 3
=-__-SE_y£^j^^f3^___f__J^g__?
q a a l * ^L_ : ffr uu 'o _-___-_-_i __»L— __-i
3 a d a —-— ■ i' J Tl___l--"""^ l i_j_i3 3 1 al i
4-4 2—2—2-2-2 2—24 ' 4
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*, £ a 2 4_4 a 2 4-__L2
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GO
OARCASSI'S INSThUCTlONS FOR THE GUITAh
Moileralo* _ P"_ 1' ._"
Study. J^z
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CARCASSI'S INSTRUCTIONS FOR THE G ,1TAR.
61
£n passages of thirds, sixths, and tenths, sometimes we find
ai accompanying part which rests upon a single continuous
iiote, and which is put in to produce an effect peculiar to the
guitar. This part should always be executed upon an open
string, even if the other parts are higher ; in which case they
•liould be taken upon strings below the open string.
On trouve quelquefois, avec des passages en tierces, sixtei
et dixiemes, une autre partie continue d'accompagnement qui
devient superieure ou intermediate pour produire des effets par
ticuliers a la Guitare. Cette partie doit toujours etre executee
sur une corde a vide quand meme les autres parties seraient plus
aigiies ; dans ce dernier cas, on les doigte sur les cordes imme-
diatement inferieures a la corde a vide.
EXAMPLE.
Thirds.
Tierces.
rirr*-
5* iM=M£:
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i
5zfrr '=F?*
EXEMPLE.
o
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f I I I la b I* i ¥-
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fetude.
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G2
CARCASSI'S INSTRUCTIONS FOR THE GUITAR
Scales, Cadences, Exercises, and Preludes,
in the Major and Minor Keys, which have not been presented
in the First Part.
Key of B Minor.
1st Poa.
Gamines, Cadences, Exerciccs ct Preludes,
dans les tons majeurs et mineurs qui n'ont point ete fMnentfs
dans la premiere Partie.
4th Pos. .
2d Poi.
Ton de Si Mincur.
Scale.
±zfzl
e
^jp^f
Szt
■•-^-43x=rP--t^txz^-»
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Cadence.
2d Poi. lat.
J
2d.
?$
—IS' — ctS^i -J
r
Hf-
IitPoa.
Exercise. Sfrc-S-G- i»»« — :
#—?:
* 5?I
i
■?#■
ppffillglJiliS
Prelndc.
zfci:
'i i r
2d Pos.
*=?:
jii1
"«QF3" -*ln
*#*?
pp^^ipg^l
gr. barre.
F
1st Pos.
"^1 -«- ^ ^ ii ^ B" "»■« ist ros.
«../■■©■ -i- W "-*1 -3 ^ J- D,m. y :z? 'n?
mf p 7*
gr. barre.
■gT Dim.
Scale
" 1
Key of F # Minor.
f v r
Ton de Fa # Mincnr.
*=e=
l^i^^^iissiiliip
2d Pon
gr. barre.
fff
4th Pos. 2d Pos.
Ihereisc. /^B-
i-p- ^ '-(S>-
4* —
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^^^^S^S
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CARCASSI'8 INSTRUCTIONS FOR THE GUITAR.
63
Prelude.
2d Pol. 4th P°i.
pelit barre. gf- barre. 2d Pol.
^
¥
2d Poa. gr. barr
lit f9a. 4th Pot. gr. barre. 2d Fob. gr. barre.
1 ' ' 3 I 8 ' 1?"
4 4 I
Scale.
Key of C *f Miiienr.
lat Poa. 6th Poh.
Ton d'Ut # Minenr.
l8t I '08.
Cadence.
4th Poi. 2d Poa. 4th Pos.
gr. barre.
-*3 3 ?3 W 1 n?J 4©
=s«s^
s
r
p-j-arg — e^g-h-i
r
Exercise. gfi-S— -Q — ■ — ^j^^ — j-
SJ2 r^__n_#ZZZl_
=&
g3E£gs£i
ep=^=&^
^^Se^Se^
utr*
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S^^Fr*
— tfsE — H
3-jS>-
4lh Pos.
r#r*
| J ■ i i i i«i_ i i I .
1st Poa- pet. barre.
I I
Preladet,
t#r*
u ilj.il 1 S I I _S I
— RIP i=-S «
i-F-3"
rs-r
4th Poa gr. barre.
I 1 I 0 L_ I i \-d—\ |-
i ' i i
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lat Poa.
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4th Pos.
n
re?"
1st Pos. pet. barre.
3d Pot. gr. barre.
4th Pos. gr. barre.
Hfe*
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T33=n.jara
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1 ' If 1 !
4-4-N-4-4-
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G4
CARCASSt'S INSTRUCTIONS FOB THE SUITAK
Gamut. K ^*^&
Gamut in B Major.
1st Pos.
4=*B
Ton de Si DIajeur.
w
m
■o *
» + * r.-f2- -r • ,+-*
sg^g
~~r~ 1 1 . : r r
2d Pos. 1st Pos. 2d Pos.
Cadence. IgEiEziiEFEf
gj «y_U^E=gEp^
ssi B
T"
ap rrasa:
±Z2^=
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1st Pos.
Exercise, fe ff'^pF
m
g i /it] .r^g^^^
4th Pos.
0
#=^
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£^
tfcffa
1st Pos
as
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2d Pos.
1st Pos.
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1st Pos.
Hfc*
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2d Pos.
^3
■ j£S^
i
1st Pos.
^=^ F :r<
1-*-^#-4-#— +# « — #- l-J-o-J^*-*^
G Sharp Minor.
Ton de Sol # lHineir.
Cadence. jpb^=|g===Ig
4th Pos.
P- ba>T«. ut Pos. 4th Pos.
1^ *gj- lgj 4 J 1, '
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f9- "^
m
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CARCASSl'S INSTRUCTIONS FOR THE GUITAR.
«5
ist Poa.
Exercise, fe^
m | jijjri^J^^g^n-'J^^feE^e
<fe^S?>
I^J^JjTlljTiiJISl^ ^jiJSJU^pt
4th Pos.
petit barre".
Prelude.
i5r#-
saa
4th Pos. petit Barre. 1ft Pos.
4th Pos. gr. barre.
4tn ros. pent Barre. m ros. *io jtos. gr. uarre. ^^
t r
4th Pos. gr. Barre.
sag^s
ffl^^^^S^H
H
W
W
i
Hey of F# Major.
Ton d Fa * Majenr.
Serving also for that of Gb Major, with six flats. j Servant aussi pour celui de Sol hemol majeur avec fix Bemols
1st Pos.
Gamut. jgigggBE
ft*
^rmrrTF^s
3^11
M
2d Pos.
Cadence, ft-* VTHg^
-J-
jg^ig- j
4th Poa. 2d Poa.
gr. Barre.
u1l_
3E
^
rpr «js>" *&-
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1st Pos.
Exercise. fc5=z§ziz
HG
OABCASSI'S INSTRUCTIONS FOB THfi GUITAR.
2d Pos.
petit barre.
fe*S=£:
Prelnde. &ES&
WMMMMM
>■* *r -* 1 -+- 1
4th Pos.
gr : barre.
3
2d Pos. petit barre
i*s^
11 oarre I p#
r*r*.
4th Poa. gr: barre
"33
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6th Poa.
— 1*— *f ■ I ~f-
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4th Pos.
:#:*-(
2d Poa. petit barre. 4th Pos. gr: barre. 2d Pos.
4 petit barre.'^gr: barre.
*2
Gam«t.&=#iS
5*=e
Key of D# Minor.
Ton De Rett Mhieur.
33
- t*em PTT-rf-
4
m
sr
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Cadence, ^^g^;
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4S:
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SSI
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1st Pos.
■taeniae
ise. ^^^^----^---45^^^^
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-=3^^§i3i^=ppp
i
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4th Pos.
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3d Pos
Prelnde. IX^S^
1st Poa.
3d Pos.
2d
4th Poa. petit bnrre.
r "• '«*"<»■ 2d Pos.
1st roa. gr: bnrre.
-fS1-
4th Poa. gr: barr<5.
lat Pos. 4th Pos.
iijp^P^ppi
CARCASSI'S INSTRUCTIONS FOR THE GUITAR.
Key of Bb Major. ! Ton de Sib Majeur.
6?
latPoa.
daunt. Jk£-W
ES
^— *~
^P»
lit Pa*, gr: bans'.
Cadence. jjjJiV, iJ= iksfcg
i
t«i-
g^jl^^ff
T"
T^
1st Fos.
Exeieise. /fefe^Hg
pggMasg^ggg^j j ifi| rrri , iJg|p^pi
lit Pos.
3d Poa. gr: barre.
tat Poa.
Prelnde. jtb—ki^
&
r3
r
^
«t±t
2^
eg
*2 — +z^ +
*4tp
3d Pob gr: barre.
-
P
*-•
I
#-«--
^
r*2 <
35
-at 5 -#
1PT
Ig- - ^s^a
: latPoa. i
32Z
Hey of G Minor.
3d Poa. TS^
6th Poa. gr: barre.
Ton De Sol Mineur.
tiamut. j^— (a.-
^ptttf*
m
a=±
=S±P#:
i
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S
*
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PI
3d Poa. gi .: barre. 2d Poa.
3d Poa.
w.^. if5i'%=ii==ig^=^^jfe- ! ;:
3g=
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CARCASSI'S INSTRUCTIONS FOR THE 9UITAR.
Sd Poa. petit Barre.
Prelude, feb-
Sd r«. petit Barre.
gr, Barre. lit Pot.
*K
&t
•-4 «.
M Poa.
2d Poa. ut Poa.
\mfo* •
lP"
^
4 #
^^
3d Poa
g^
Key of Eh Major.
*±afc
TCt Barre. iiS
m
lat Poa.
K
• .7T
?
*
3d Poa.
Ton de Mi b Majcnr.
5 ■*-! i sdPos.
^-B-f-j==^|jggEg
gg=g;
1 i -<S- » l . Sd Pe
$
si
MPoa. 4th P™. 8d Poa. I„ Po.. M pM
Cadence. -#-r-k_!i;
I^^^B
P
tS r>-f-
-M
2^r
gr. Barre1
m
Exercise, fety^
lat Poa.
ft p*|
^^P^P^^^^^^^^
&C
^piiSliS
^^*
m
Sd Poa
zrfc
Prelndc. JtbuC H«q^=jE
W *p-a-»— * — i
lat Poa. gr. Burro.
m n
o_
r
-a-** — Hi
J~"l l«t Poa. I— I
5S
T=»"
S
SdPoa.
ii J L
T^-
s
petit Barre
-22 fflq
I I I I ! I ~£?~P- Barre. i I* P
d'amnt.
Key ©f C Minor.
•fe^^^-^si
r^f-
tW *~ 1 r-
ion
is*?
Ton D'nt Mincnr.
>3
£
gf
OARCASSI'S INSTRUCTIONS FOR THE GUITAR.
«9
Id Tot. lit Pos. 8d Pim
b gg£
Cadence, fe-he-fg ^
r
r?^:
J-
-30
iS^
3S
:4S=
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1st Pos.
Exercise.
^ppEgH^E^^^jg^ I j j j j^psj
§£
g^n4^
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=*^-b»-
Stei^
JW
STi^TF
^--^T1
-*-^Jr
r r
3d Pos.
Prelum. E^g
K=£S
t=tf
E
lit Pim. petit Itarrs.
I 'I
3d Poa.
r r r
±±jizM
*=3
r r **?
#P?1| S^IEe
£
£^
r r r r
r r r t r r r
Key of Ab Major.
1st Pos,
Ton de lab IHajenr.
t^=
Gamut. /fckV^
wm
# P ,-p- F _^
i
P^
3J-g
Ifl
*-*
4th Pos.
?M^
rat
***■
1st Pos. 4th Pos.
Cadence, Sfeb^zfezaS
Ejj=Rg
a.o ■
T-
I
r
gr. barri.
lit Pos,
Exercise. jfeE^g
^^^zm
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JO
CARCASSI'S INSTRUCTIONS FOE THE GUITAR
4th Pos. pet: barre1. 6th. Pos. gr : ban-a. 4th. Pos.
rre.nde./O-^
4th ros. pet: barre. 6th. Fos. gr : ban-a. 4th. Pos.
H^; v-tTi HP «Hi I i fn -•- i R naV-n-i __ sze ^ poS. , —
1- P.. __^_ .. * «*■ P»». I I ,-- 4<1>- POI.
'» 'i * & h 5
n-
1st Pos.
Key of F Minor.
Gamnt. cg^r-©
Ton De Fa Minenr.
I i
3=.
'mmmmmmmmm
1st. Pos.
^3§^fllF
Cadence
>-IJfe=f:
-a-eF
rss:
-J,
HE^TS1
:^a
Ss:
•i»
-*-©l
es>-
*33 rr
1st. Pos.
:3zn-~gtT-'y rr
9 — r^P—tt
petit barre
^5
petit barre.
Prelude. fefife£fi— Tf1*11
' BgSZZt
fe
r
«h. Pos. p: barre. Ut. Pot
-HP-
3—TB
5=
r^
;-i
F
Key of Db Major.
Swring also for that of C# Major, with seven sharp.
Ton Dc Rcb Majcnr.
Servant aussi pour celui d'Ut # majeur avec sept diese*.
BuwtJMge^^E:
Ith Pos. M. Pos. i(t Pas '•■> •»«-
Cadence, p-fai^-
^ ipr
*F
I23Z:
TBT
¥i&
CARCASSI'S INSTRUCTIONS FOR THE GUITAR.
71
lit. Po».
lercise.
lit. ra&. ^rf^rr__l_ — m- -
J * -»- :J: # :*^
lsl. Pos. petit barre.
F— - 5C
wn^ ^^m 1st. Pos. gr: barre.
-£&T
7?
5
ii
_ , t, 1st. Pos. _._-■ -_ i—
_ ^m ==S WP rT^ S3R C=a gr: barre. r-P^ FT11
pet: barre,
i
3— rP
Key of Bb Minor.
i
i
tffi?i
'» n? — —
"T — — 1~~ #.
. id
-^- j _^C 9tb. Pos.
5.
CS3E
T~25
gr: barre.
Ton de sib Mincnr.
Sd. Pos.
tamnt.febj5_-T-e:
1st Pos.
r=l — ta
as*!
sit
M-bS l
.^
~ST'
t&S=^=m
lit. Pol. gr: barre
J ad-
Cadence. feEfcEfez±J~ t^— : J
gl=±^k
W
7?
*f T~T
:25s:
^gt
1"?5
I
±=g:
1st. Pos. ^^ 0-
3=*
:F=£i*i
±S
gr: barre
Prelnde.|^|q£g^jp|
x?3
"#~ TT "»"
I I I
^ ^ 3d. Pos.
-a- -J- i-»- -•- ■#- — — r ~T T»" «r »
•*" TT IT"
I I
T T»
7- F '
gr: barre. ^^^ gr: barre1.
h i-j. — SC-^ — i— !— H r-FPJS? -H-3 -Y^r^r^— TH— |-*trS
33 ^ tj a q= 4 ^ 35 r
( M. Pos j | ^T 1st. Pos. "<#" "V" ".*" ",*" "T 1
fk^k^y^^-
Sinful
r T f
_r _^.
72
OARCASSI'S INSTRUCTIONS FOR T H A GUITAR
Harmonics.
Harmonics are produced by placing a finger of the left hand
across all the strings of the Guitar at certa'n divisions of the
finger board.
The finger must press lightly, yet with sufficient force to
prevent the string from vibrating as if open. As soon as the
string has been struck with sufficient force near to the bridge,
the finger must be taken off.
Harmonics sound an octave higher than what they are
marked. They are produced at the 12th, 7th, 5th, 4th and 3d
fret, as the following table shows.
Sons Harmoniques.
On produit les sons harmoniques en posant un doigt e li
main gauche sur toutes les cordes de la Guitare a de cei jines
divisions seulement. II faut que le doigt pose legerement maij
avec assez de force pour empecher a corde de resonner a vide,
et on leve ce doigt aussitot apses avoir pince la corde un peu
fort pres du Chevalet.
Les sons harmoniques rendent une octave au dessus ce ce
qu'ils sont marques. lis se font a la 12me, 7me, 5me. 4me e<
3me touche comme le demontre le tableau suivant.
■M String.
Ira Corde.
2J String.
2e Corde.
EJ String.
8e Corde.
4th String.
4e Corde.
6th String.
Be Corde.
6th String.
8e Corde.
12th Fret,
12me Tooche.
m
7th Frot.
7roe Tooche.
-ftg-
6th Fret.
6me Touche.
w
£
4th Fret.
4m e Toncbe.
a
#ts-
3&zr
-JSSz
8d Fret
3ir;e Tooche.
-f2.
m
Exercise in Harmonics. Exercice en sons Harmoniqncs.
The upper figures point out the frets, and the lower ones the Les chiffres superieurs indiquent les touches et es cr tfrw
wrings.
Allegretto.^-^ — jy
3 3 3 4 .1 5"" "S
5 6 3 6
3 4 6 4 3 6 6 fl 4 - Z T^T
* 0 - - 3 0 4 6 4 6 3 4 fl
£=&=r-
m
t 12 7 12 5
12 -
#01
S 5 3 5 1464
3 B fl fl
4
mT7"i i ;■ , i, i ^m*i
3 2 13
14 2
OARCASSI'S INSTRUCTIONS FOR THE GUITAR.
i - 1
7
7 12 6
I F — 0 0 *■
5
- 18
1
pr-^
s
1
7 7 1
r-F-
3 8 3 3 4
3 7 - - 12
3 2
6
-ft-
73
12
s
All the notes within the compass of the Guitar may be
played harmonically.
To do this the note which is to be played harmonically is
fingered in the same manner as an ordinary note ; then the
point of the forefinger of the right hand is placed at the 12th
fret distant from the note which before has been fingered by the
left hand, the thumb is then removed from the forefinger, which
presses lightly on the string, and strikes this string which will
produce a harmonic sound.
J2
Allegretto. fezS
j a - - 7 x a o _m ±a i
On peut aussi executer en sons harmoniques toutes les notes
du Diapason de la Guitare.
Pour y parvenir, on doigte avec la main gauche la note qu'on
veut rendre harmcnique, comme si l'on devait executer une
note ordinaire, puis l'on pose le bout de l'index de la main
droite a la 12me touche correspondante de la note doigtee
par la main gauche, en ecartant le pouce de l'index qui pose
legerement sur la corde, on pincera cette corde qui resonnera
harmoniquement.
12 7 13
4 32432 + 3234 2 34 13 834 324324 '» 83 234 24
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Explanation of the Signs.
tS ORDER TO EXECUTE THE TWO FOLLOWING PIECES.
Friser. — Indicates that the fingers of the right hand are to
be kept closed, with the exception of the thumb ; and opened
one after another, letting them pass over all the strings without
any movement of the arm.
Pouce. — The thumb of the right hand must be passed
ightly over all the strings.
Index. — Pass the index finger of the right hand, very
:.ghtly, from the highest to the lowest string, quite close to
he rosette.
Vibration. — Let the fingers of the left hand fall, in hammer
fashion, upon the notes so designated, with force enough to set
the strings vibrating, without (pinching or) snapping them.
Tambour. — Strike with the thumb of the right hand upon
al. the strings, near the bridge, with force enough, but without
liardness.
Explication dcs Signcs.
POUR EXECUTER LES DEUX MORCEAUX SUIVANTS.
Friser. — Indique qu'il faut tenir les doigts de la main
droite fermes a l'exception du Pouce : et les ouvrir los uns
apres les autres en les faisant passer sur toutes les Cordes, sans
faire de mouvement avec le bras.
Pouce. — II faut passer le Pouce de la main droite legeicmen
sur toutes les cordes.
Index. — On passe l'Index de la main droite, tres legeremenl
depuis la chanterelle jusqu'a la derniere corde, bien pres de la
Rosette.
Vibration. — II faut laisser tomber les doigts de la mail)
gauche, en forme de marteau, sur les notes indiquees ; avec
assez de force, pour mettre les cordes en vibration sans .fee
avoir pincees.
Tambour. — On doit frapper le Pouce de la main droite, et
en longueur sur toutes les cordes pres du chevalet avec
de force, mais sans roideur.
Vibr. 'Friser.
Pouce.
Waltz.
Y f
Vibr. Tambour.
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Pouce.
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Pouce.
Pouce.
Index.
Index.
Pouce.
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CARCASSI'S INSTRUCTIONS FOR THE (itllXAh
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113
Sbwly, with ~_
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Mid feeling. Sis:
A TEAR SHALL TELL HIM ALL.
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1. ATmoonlight, near the broken cross, Young Ebert fond - - ly, fondly swore To love but me, and on - ly
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me,
Till life, till life should beat no more
To note that vow on heaven's high name So fervent - ly he seem'd to
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Though heedless of his vow he prove,
His falsehood I'll not harshly blame ;
And should he wander back to me
I will not ask him whence he came.
No angry frown shall cloud my brow,
No murmur from my lips shall fall ;
But ere this heart in silence break
A tear, a tear shall tell him all
114
Voice.
(■altar.
MARY OF ARGYLE.
ARRANGED BT A SCHMIT*.
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1. I have heard the ma-vis singing His love-song to the morn; I have seen the dew-drop clinging To the
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Though thy voice may lose its sweetness,
And thine eye its brightness too ;
Though thy step may lack its fleetness,
And thy hair its sunny hue:
Still to me wilt thou be dearer
Than all the world shall own;
I have loved thee for thy beauty,
But not for that alone :
I have watched thy heart, dear Mary,
And its goodness was the wile
That has made thee mine forever,
Bonny Mary of Argyle.
SPEAK GENTLY.
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115
ARRANGED BY E. B. BOHUSZEWICZ
3. Speak gen - tlv to the lit - tie
— =±=EjSEz=
1. Speak gen -tly, it is bet-tei
III 8 _ p __-^
child,
Its love be sure to gain;
— 1
Teach it in accents soft and mild —
It
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may not long re - main.
s— *- — Et=3=?- *-|
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2. Speak gen - tly ! love doth whis - per low
The vows that true heart!
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Pass through this life as best they may,
'Tis full of anx - ious care.
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gen - tly friendship's accents flow,
Af - - - tec tion's voice
kind.
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Speak gently to the aged one,
Grieve not the careworn heart ;
The sands of life are nearly run-
Let such in peace depart
6
Speak gently— kindly to the poor,
Let no harsh tone be heard ;
They have enough they must endure
Without an unkind word.
Speak gently to the erring— know
They may have toiled in vain ;
Perhaps unkindness made them so.
Oh ! win them back again.
8
Speak gently!— He who gave his life
To bend man's stubborn will.
When elements were in fierce strife,
Said to them. "Peace be still"
Speak gently!— 'tis a little thing
Dropped in the heart's deep well:
The good, the joy which it may bring,
Eteruitv shall telL
116
Andantino
GUITAK.
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OH, WOULD I WERE A BOY AGAIN.
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ARRANGED BY L MEIGNEK.
1. O would I were a boy a •
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- gain, When life seem'd form'd of sunny years, And all the heart then knew of pain, Was wept a - way in transient
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of my youth ! O would I were a boy a
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'Tis vain to mourn that years have shown
How false these fairy visions were,
Or murmur that mine eyes have known
The burden of a fleeting tear.
But still the heart will fondly cling
To hopes no longer priz'd as truth.
And mem'ry still delights to bring
The happy visions of my youth.
0 would I were a boy again,
When life seem'd form'd of sunny yean
117
QUEEN OF MY SOUL.
ARRANGED Bl F. WEILAND
nrili VeeliBs.
4U1TAR.
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Queen of my soul ! whose star-like eyes, Are al! the light I seek ;
Whose voice
in sweet - est
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Queen of my soul, Mary! Mary! Queen of my soul ;
I i i i i R5
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Ma - ry !
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Ma-ry! Queen of my soul!
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W5i h Feeline
!. The Mountain of thy native shore, Are cold and dim and _r»_ Ah ! .T^.^JJ-. .k„:_ „_....._„ tm._-__._- ~.
2. The Mountain ofthy native shore, Are eold and dim and gray, Ah! linger 'midst their clouds™ more, Thy home is far a - way" Thy"
3. The per-fum d rose for thee is twin'd. The lute awakes its strain ; Then shall the with'ring northern wind Steal all thy sweets in vain ; Steal
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tome is for a - way ! Where Italy's blue waters roll, Queen of my soul ! Ma7y ! jfiry ! Queen of^y soul! SaTy! MaTy" ! Queen of my soul!
.Uthysweets in -am, No ! fly beyond thy fate's control ! Queen of my soul! Marv! Mary! Queen of my soul ! Mary ! Mary , Queen af myTaTl
118
I
MOUNTAIN MAID'S INVITATION.
ARRANGED BY J. E mj4/L»
59
mingii
:£=£=
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Come ! come ! come ! O'er the hills,
r#— • — J-K-J . • — • — •
free from care, In my home true pleasure share ; Blossoms sweet, flow'rs most rare
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Come where joys are found.
Here the sparkling dews of morn
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Tree and shrub with gems a - dorn,
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Come ! come ! come !
Not a sigh, not a tear,
E'er is found in sadness here,
Music soft, breathing near,
Charms away each care !
Birds, in joyous hours, among
Hill and dell, with grateful song,
Dearest strains here prolong,
Vocal all the air !
Tra la la la, tra la la,
Tra la la la, tra la la,
Dearest strains here prolong,
V"cal all the air !
r
Come ! come ! come !
When the day's gently gone,
Evening shadows coming on,
Then, by love, kindly won,
Truest bliss be thine !
Ne'er was found a bliss so pure
Never joys so long endure ;
Who would not love secure ?
Who would joys decline ?
Tra la la la, tra la la,
Tra la la la, tra la la,
Who would not love secure ?
Who would joys decline 1
_j— — i^
THE WATCHER.
ARRANGED II T F. WEllxAND
70101
JUITAR.
2. Within that dwelling lonely, Where want and darkness reign, Her precious child, her on-Iy Lay moaning in his pain ; And
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1. The night was dark and fearful, The blast swept wailing by, A watcher pale and tearful, Look'd forth with anxious eye, How
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death a- lone can free him, She feels that this-must be, But oh! for morn to see him Smile once a-gain on me. And
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wist-ful-ly she gaz-eth, No gleam of morn is there, Her eyes to heav'n she raiseth, In
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All libitum
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wist-ful-ly she gaz
C * s— *-*=*- *-T-«-^-te|#— m — _ n
eth, No gleam of morn is there, Her eyes to heav'n she raiseth, In a - go - ny ofpray'r.
A hundred lights are glancing
In yonder mansion fair,
And merry feet are dancing;
They heed not morning there.
0 young and joyous creatures,
One lamp from out your store
Would give that poor boy's features
To his mother's gaze once mor«»
The morning sun is shining j
She heedeth not its ray:
Beside her dead reclining,
The pale dead mother lay.
A smile her lips were wreathing,
A smile of hope and love,
As tho' she still were breatlrinp
There's light for us above
1'20
Moderate*
Guitar.
CHARITY.
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ARRANGED BY LEOPOLD VKIONKK
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1. Meek and lo\r-ly, pure and ho - ly, Chief a-mong the "blessed three," Turning sadness in -to gladness, Heav'n bom
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art thou, Char-i - ty ! Pi - ty dwelleth in thy bosom, Kindness reigneth o'er thy heart, Gentle
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thoughts alone can sway thee, Judgment hath in thee no part. Meek and low-ly, pure and ho - ly.
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Turning sadness in - to gladness, Heav'n-born art thou, Cha-ri - ty !
1 r^ h ^_ N T ,
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SECOND TERSE.
Hoping ever — failing never —
Though deceived, believing still ;
Long abiding, all confiding,
To thy heavenly Father's will ■
Never weary of well doing,
Never fearful of the end ;
Claiming all mankind as brothers,
Thou dost all alike befriend,
Meek and lowly, &c.
An dan lino
, un e spressione.
LOVE NOT.
„— u»g ===== ii ^^T~.
!SR-r <-af — I — 1-i —I I - I'H-T— I— T#-'
121
ARBANGED BY P WV1LASU
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few
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6
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T 7#~ '»' ' ' ",»- a "»■
2 3
Love not ! love not ! the thing you love may die, Love not ! love not! the thing you love may chango
May perish from the gay and gladsome earth, The rosy lip may ceaee to smile on you,
The silent stars, the blue and smiling sky, The kindly beaming eye grow cold and stiange,
Beams on its grave, as onoe upon its birth. — Love not ! The heart still warmly beat, yet not be true. — Love uoi
4
Love not! love not! Oh warning vainly said
In present hours, as in years gone by :
Love flings a hallo round the dear one's head,
Faultless, immortal, till they change or die. — Love not'
123
THE WIDOW OF NAIN.
AKEARGED BY A BCHMT1
Andanla
Affetuoso.
(
SlESE
1. Wake
not, oh mo - ther,
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Weep not, oh wi - dow,
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God to suc-cour thee, . . Strong is the word ... of God to succour thee.
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SECOND TERSE.
Bring forth the cold corpse, slowly slowly bear him,
Hide his pale features with the sable pall ;
Chide not the sad one wildly weeping near him,
Wilowed and childless, she has lost her all.
THIRD VERSE.
Why pause the mourners ? who forbids our weeping,
Who the dark pomp of sorrow has delayed ?
" Set down the bier, he is not dead, but sleeping ;
Young man arise," He spake and was obeyed.
FOURTH VERSE.
Change then, oh sad one ! grief to exultation,
Worship and fall before Messiah's knee ;
Strong was his arm, the bringer of salvation,
Strong was the word of God to succour thee.
123
LILLY DALE.
ABBANGED BY J DE AIMJDERA
ANDANTE
8IMPLICE.
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ttzfcrar
still' night, And the
moon's pale light, Shone soft o'er hill and vale ;
death damp was on
wm
Sr^
The
pure white brow,
S^
'--e1=£-=^
--X
Of mj
poor lost Lil - ly
Dale.
mm
3tg_Z
friends mute with grief, Stood a - round the death bed
r±
M-
zjzz^zzzizzzjz:ziz_-i
zzizzfc
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Of my
■1
poor lost Lil - ly
Dale.
And the
f ■ ■ -
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3=a£
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CHORUS.
=te±=
I
:z*i
-©---
N^
Oh!
fczzztirirlzzdzSz^zSzz-
sweet
Lilly,
dear
Lil
~^"-
■*-.* -*:
Dale,
nr
Now the
zt » x— • B:
i
*r*-
^rr^
wild
-S«zz^-
zzcz-fv 1 IzzzzXzz^zizz-zrzzNzz^^r
^*E*EE*EEizz1zzf=3EE*E?zzfeE
rose blossoms, O'er her
pspiiip
lit - tie green grave, Neath the
trees in the flow' • ry
vale.
I>
~4- I -•- — -
•- ""or -m-
"I go," she said,
"To the land of rest,"
And ere my strength shall fail
I must tell you where,
Near my )wn loved home,
You must lay poor Lilly Bale.
'Neath the chestnut tree ;
Where the wild flowers grow,
And the stream ripples forth thro' the vale.
Where the birds shall warble
Their songs in spring,
There lay poor Lilly Dale.
WITH FADED FLOWERS THY LYRE WE'LL WREATHE.
Voice.
Guitar.
,, Modern to Amsni.
AERAJIGED BY A. SCHM.TZ.
S5=S
1. With fa - - ded flow'rs thy lyre
i i i
Slp=§g3§3
:t=
*=*±
t=t=t3=t=
C5--1
m
we'll wreathe, The flow'rs that glad - den'd
f:=zzGzR3zd=dzp-*:^
;
I
zqz^szzzfczzzzps:
thee ;
:==5zqEI:q— z£B=^f=p:
=1-
=*t
And ev' - ry droop - ing bud will breathe A
t=t:
j 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
pur - furn'd mem
:zt
d_H- Jzztzjzzizfczt
, ^z?z^zzlzzi=*zzzz:zz=
zlz* *-*
1
:Erzz3zzSz±z£zzzzjfc
g=feE=Z^p
ry-
No
#-
ther touch will
wake that string
T^
From which such
Mu
sic
•zz^zz&jlzzfr^zlztizzzd Ejfcnd^E*= =4^|±=^iH?3z±-i±^=dbf==^t=^&:zzSiE :
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came,
Un - less it
be
the
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mm
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thy
night - wind's wing To syl - - - la-ble
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name,
zzfzzz^zf:
No
I
3
zrzjzz:
>
:zt:
zz^EE
;!
33.
ztJzfzz^zzizz-z
*zzzzzzzzzz3zzzz
ther touch will
fT
iqidifczlztSJSzrzziH:
=zzz=zzz;z1zzzz;zz-z^EfEqzi:
wake that string From which
dzztZiZZZt
such Mu
1 1 0 1 1 1 < 1 1 1 111
zjzz^zMzpdzdzz^zz^zzzlzdzzjztzJzzCi
izf—^riz: :zz)z«z?zzz5z*zz:dzszf zzzfziz: :
(
3
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From which such mu - sic
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•^- *-4 -j T — > — -F1-
From which such music came.
! n 1 i 1 ij r iiii 1 1 1 1 1 1 1 1 1 1 1 1 1 1 'i 1 1 1 t- t~ 11,111 i.iiii I
^-z^zzi^z^-^fzfj:^^
?~3 3 3 3 5" 3 %~ ' — 3 — ^I-^-1
f
SECOND VERSE.
The sculptur'd uvn that decks the grav3,
Where sleeps the mighty one ;
The Lrazeii records of the brave
Time breathes on, and they're gone.
Thy grave will be a holy spot,
Where years have passed away ;
Thou art not one to be forgot:
Thou art not for decay ;
U/opderfully Successful (T\usie Bool^s
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