l'iV 1 .&::.o Vl'i 1 o.&::. v vn "%U! o .1. n.a.

nv
D, Open E, 2nd Fret F, 3rd Fret

.
.
.
: 2nd Finger : 3rd Finger
"i
"i
.
'i
u
. .
. .
0 "
Name each note as it is played until thoroughly learned. Careful alternation of (rn) and (i),
then (a) and (rn).
Ex. 31
m i
I JJJJ IJJJJ ljJJJ IJJJ I JJJJ IJWJJ IJjJJ I
0
11
SLOWLY, EVENLY; LEFT FINGERS CURVED, RIGHT TIP-SEGMENTS RELAXED!
Ex. 32
m i m i
I JHJIJJ3WIHHIJHJIJJJJinJJIJJ;
1
IJJ;J II
The two following Etudes No. 5 and No. 6 are played free-stroke with BOTH (p) and fingers.
IMPORTANT I Carefully check to see that right:
1. wrist is practically flat (not arched).
2. hand has been lowered to free-stroke position.
3. hand is being held very STEADY.
0d
SLOWLY at first l With (i) and (rn), .. , ... , .. -... .

1
i J J I J J I j J I J J I J J I J J IF. j J I F. j J I
p p
t ;( F ""' <".\._
4 @ J J I @ J J I J J I i J I J J J J I J J I F II

4 J)J) PJJ d J
F
f

Jl jJJJJJJJI
f
-
I
r
Prelude 10 introduces a new time signature; how is it counted? (Seep. 9)
(m) must execute a follow-through movement as (i) makes its stroke; both fingers extend to
playing position when (p) makes its stroke. Also practice with (a) and (m) applying the same
principles.
Prelude No. 10 is played free-stroke with both (p), and fingers. Carefully observe left hand
fingering; the 4th finger is used for G on the 1st string and 0 on the 2nd string.
SLOWLY until learned; then practice for more speed.
--
'
Prelude No. 10 )
pmipmi 4
'R /JJ/JJIJ12pilllpPPJip?p?IFp221
4 p. J J p. J J I l J J l J ; I pg f.D \ J J I F F I
4
pp
1
rffir[EIP:Pip3F1Ff."1R3J11
Carefully practice measures 4, 8, and 16, separate from the treble part before attempting
to play both together.
Right hand RELAXED and STEADY; only thumb and fingers move to make the strokes. Left
finger CURVED and HELD DOWN; they should move only when necessary.
SLOWLY until learned, then faster.
Use metronome and count.
MOORISH DANCE
4
le r ~ ~ ~ l!j)j?J)Jir r r r I ~ J J J ~ J J J I
p
f r r r r
~ ; J ; ~ JJJI
. r r
I
~ r: ~ ~ - [ I "
- -r; p p lp
m m
"'""'"4-
, jJ IJ)J IJI I jJ IJ)J IJI I)J IJ)J 1 ~ 1
. ~ ~ - " .. ~ ~ - " ~ " ~ . il . -
f I B J J J ~ J J J I r 1 ~ ) J J ~ J J J I r i r
r i r r 2 -
1
2 r r r 2
r
' 2 J I J J J I J I ~ Sr I @ J I J P I J I J J I J J J 11-@: E II
'tu
The (p), (a), (m), (i) movement introduced in Prelude No. lOa is used in playing the beautiful
tremolo compositions often heard in recitals and recordings.
In a similar manner to that explained in Prelude 10, (a) and (m) each in turn must execute a
follow-through (the follow-through with (i) is only slight). Emphasize the extension of (a) as
(p) makes its stroke, (m) and (i) will normally follow out to playing position. CAUTION: (a)
must attack with sufficient force to maintain a balance of volume with the stronger fingers (m)
and (i).
Prelude No. lOa e;;:;
pamipami
JJJJjJJJI jJJJjJJJI
4 pn J JJJI @nJRnJI J JJJ J BJ1 jHJjJJJI
gJnJjJJJ jnJjnJ jJJJjJJJ JJJJJJJJ
I
I f
F I
J
,. r
4 =J JJJ JJJ1J J'JJ J JJJ JJJ1 #{J 4
f
F f
Half-Steps on the D or 4th String
The following chromat-ic scale exercise (No. 33) includes the notes, D# and F# on the 4th
string; what are their "t-l.at" names? The chromatic exercises are a most important part of the
student's daily study. A concentrated effort should be made when ascending, to hold ALL 1eft
fingers down until changing to the next higher string.
At the beginning of each practice session, play Ex. 33 ten or more times, until fingers are
thoroughly free and invigorated.
Ex. 33
& x j ++ j w 1 J #J w 1 w J #J 1 r r #r 1 r r r 1 r r r 1
! b
I r F F I M r r I r r g J I J J I J J J I Q J. II
44
NOTES ON THE A OR 5th STRING
A, Open B, 2nd Fret C, 3rd Fret
. .
2nd Finger
.
3rd Finger
~
. .
.
. . .
!
. .
!
....I.
.
.
.
.

v
Name each note as it is played until all are thoroughly learned.
~ o k e with (p). LEFT FINGERS HELD DOWN IN ASCENDING.
34
,,! J J J J I J J J J I J J J J I J J d J
' J J
J J I J
J
J J I J
J
J
J I J .J
J
I
COUNT SLOWLY, EVENLY. With (m) and (i), then (a) and (m).
Etude No.7
~ e ~ - J J r
1
~ J d r
1
t. J J r
1
~ J J r
1
~ J J r
1\ I
I
; r r J
1
{ r r J
1
~ r r J
1
i r r
J
"'"'
f r r
~ ~ ; J I r J d I E J d I r J d I E J d
r . r r r . r r r
I' t
" r
; ~
~ ~
J t J ~
I
F I t r r I t r I r r I f t r
~ ~ J J r I ~ ; J r I ~ . .J d r I ~ ; J r I ~ J J r

I ~ t J I t J I t J I t ; IJ.
' rr
ff tf
ff frur
45
Exercise 35 is first played with (p) until the LEFT HAND fingering is executed with confi-
dence; practice with (i) and (m) rest-stroke always alternating.
4 1: J J J J I J J J J I J J 1 J I J J J J I J J J J I J J J J I
& I I J I I I I j I I I I j I I I J J j I J J I J I I I I II
The measures containing 8th notes in Prelude No. 11 should be practiced separately, espe-
cially where (i) and (a) are used.
COUNTSLOWLY,EVENLY
}
Prelude No. 11
i m i
r r t

r t
i a i
ljJjJJI
r r r

J J J J I
IJ_JJJJJI r t I ). J J J J J I r-
r
t r t
1/PPJ1
- - t .- .
.
I
r r r
4
I r r t
1
J. .J J J J J
1
r
r r
4

II
r- r

!
.
i
r
r
r
I
iaia
imi
I J.J J J J J I f r t I J J J
HOW YOU PRACTICE is the one most important factor in your study of music and the guitar.
Thoughtful practice habits applied regularly each day with enough time will assure you of sue-.
cess. Anyone can learn to play the guitar well who sincerely desires to do so.
46
NOTES ON THE E OR 6th STRING
E, Open F, 1st Fret G, 3rd Fret
. .
1st Finger
.
3rd Finger
~
.
. .
. . .
. . .
. . .
. . .
. . .
- - -
-
&
0
0
The instructions given on the preceding page for Exercise 35 should be carefully followed
in studying Exercise 36.
Name each note until all are learned.
r!!)
lC e I I I I I I I I I I I I I I I I I I I
~ g J J J
g J J g
4 g J d
~
~
~
I
The bass part of Etude No. 8 should first be studied alone until it can be played vey freely
and evenly; then the treble part may easily be included to form the complete composition. Care-
fully observe the chromatic signs (accidentals): 4th string D# and 1st string F# in second meas-
sure; 5th string C# in sixth measure.
Etude No.8
.//'I ~ ~ J ~ _j
j I
..
1 r i+F
i
r r
r
r r
i --rr r
"
~ ~ ~ J J d ~ I
l_ ,l J I I
""'
-r-r
F ~ r r ~ F
-r
T
f
('
r
/i'i J J I J
-,
""P
I
7-"
I
r
r r
r
r r
r r
f r
f r
" J
J I I I I I I
""''
r F
---,: f
---,: f
---,. f
-,. r
t r
f
f
F.C.l937
47
Etude No. 8 (cont.)
/4 E j
I J J I J d
I F J
I E J
I I
r r
f r
r r
-
f i
f
r
r
f r
lf f r J I 1 r J I ; r J I 1 f J I f f J I ~ r ,
I
r
Ex. 3 7 ~
tC JjJjljJ J II II IIIII IIIIIIIIIJ Ill
If the rhythm of Prelude No. 12 is broken by difficulty encountered in the third measure,
practice it separately until it flows.
Prelude No. 12
2 4
/ 1\ I I I I I
I I I I l I J I J I
::::; f
-
'
i .
-
.
-
. .
i
m
1\

~
m
m
~ . . ,
1
/I\ I I I I I I I I
I ..l I -J l
I I I I I
.. -
.
1
r
.
.
I\
i
m
m
i
-
.
\
I I I I
./1\ T J I J I I J I J I
..
I I .
-
.
f
r
r
.
I\ m
-
i i
m
i
"
I
..
I
II
I
II
I
II
I
II
37
Numbers by notes indicate left fingers. (F# on 1st string is played with 3rd finger, G with
4th finger.)
SLOWLY with EYES ON MUSIC I
Prelude No. 9
Jo -2.7-?.oos
VV'\ 0.. """""' t
/I\
I I I I I I 1
_[
I I I J
..
= =
= =
.
.
. .
~
m
i

-
"\t I
3
/ I \ ~ I I I I I
I l J I I I 1 t.W. J l l
I
I ' ~ ' J
I I
..
= = =
=
. .
.
.
" ~
m i
..
- -
"\ ..
4
/U I I J I I 1 I J I I I I .J I I
I .J I
I

=
= =
=
.
. .
.
1 ' \ ~
m

"
I
I
3
,/ 1'\ ~ I I J
I l I I J
1 l I I I r l - I I
--
=
=
-
-
=
-
-
.
.
.
r
~ ~
i
-
..
.......
...LII&
~ ~
.
, t
I
I
J