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ASG Booklet complete.qxp:Layout 1
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Page 1
Celino Romero
T H E A R T O F
Spanish Guitar
Preview edition
An introduction to playing Spanish Guitar.
Includes:
• Basic music theory
• How to hold the guitar correctly
• Proper placement of right and left hands
• Apoyando and Enganchando
• First exercises and songs
• Preview DVD with excerpts from The Art of Spanish Guitar DVD
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Page 2
TABLE OF CONTENTS
PREFACE ..............................................................................................................................3
INTRODUCTION...................................................................................................................3
PARTS OF THE GUITAR ........................................................................................................4
Tuning............................................................................................................................5
MUSICAL NOTATION ...........................................................................................................6
Pitch Notation ................................................................................................................6
Accidentals......................................................................................................................7
Rhythm Notation............................................................................................................7
HOW
TO
“HUG” AND HOLD
THE
GUITAR ...........................................................................9
THE RIGHT HAND ............................................................................................................11
Terminology for the Right Hand ...................................................................................11
Placement of the Right Hand ........................................................................................11
Your First Sounds .........................................................................................................12
REST STROKES ..................................................................................................................14
Rest Strokes of the Thumb.............................................................................................14
Exercises for the Rest-Stroke Thumb ..............................................................................15
Rest Strokes of the Fingers .............................................................................................15
Exercises for Rest-Stroke Fingers ....................................................................................16
THE LEFT HAND ..............................................................................................................17
Terminology for the Left Hand......................................................................................17
Position and Posture .....................................................................................................17
GETTING TO KNOW THE FINGERBOARD ............................................................................19
First Reading Exercises ..................................................................................................20
Lesson No. 1 (Fernando Sor) ..................................................................................................................22
Lesson No. 2 (Fernando Sor) ..................................................................................................................23
Photography: Mark Johnson
Project editor: David Bradley
Interior design and layout: Len Vogler
This preview Copyright © 2007 by Amsco Publications,
A Division of Music Sales Corporation, New York
All rights reserved. No part of this book may be
reproduced in any form or by any electronic or mechanical means,
including information storage and retrieval systems,
without permission in writing from the publisher.
Order No. AM 989263
ISBN-10: 0.8256.3529.2
ISBN-13: 978.0.8256.3529.8
Exclusive Distributors:
Music Sales Corporation
257 Park Avenue South, New York, NY 10010 USA
Music Sales Limited
14-15 Berners Street, London W1T 3LJ England
Music Sales Pty. Limited
120 Rothschild Street, Rosebery, Sydney, NSW 2018, Australia
Printed in the United States of America by
Vicks Lithograph and Printing Corporation
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Page 3
PREFACE
Congratulations on your purchase and thank you for choosing Cordoba, makers of fine
classical guitars. This preview of Celino Romero’s The Art of Spanish Guitar will help you get
started and guide you through the basics, such as holding your guitar, reading music, and
playing your first notes. Once you have completed this preview book, it is highly
recommended that you purchase a full copy of The Art of Spanish Guitar (book & CD) to
continue studying the Romero method—a method that has seen three generations of Romeros
emerge as world-class performers. The full book will cover the following topics at length:
Position and Posture
The Right Hand (placement, rest strokes and free strokes)
The “Romero Touch”
The Left Hand (placement, finger independence, shifting positions, scales and exercises)
Synchronization of Both Hands (Tárrega and Aguado exercises)
Ligados (ascending and descending slurs)
Chords
Arpeggios (full and sequential planting, Giuliani studies)
Tremolo
Rasgueado (Flamenco technique)
Daily “Guitar Gymnastics”
Ornaments (vibrato, trills, and grace notes)
Natural and Artificial Harmonics
Fingernail Technique and Maintenance
The promotional DVD included with this preview book shows highlights taken from
The Art of Spanish Guitar DVD, in which Celino Romero fully demonstrates each and every
technique covered in the book.
Both the book & CD and DVD are available from any good music store.
INTRODUCTION
When we play an instrument, we must be very systematic in building our technique, since it
will be one of the most vital tools for expressing our emotions through our instrument and
its beautiful music. Without a solid technique, we will continuously struggle with our
hands, fingers, maybe even with our complete body and our own minds. We should
abandon the illusion that one can reach joy and satisfaction in the art of music making
without having the proper working tools—our hands and fingers.
Finding the correct technique will be an exciting process that will require your patience,
sensitivity, and love. During this development, you have to enjoy playing a single note
flavored with love as much as if playing a complete concerto. If you take pleasure and pride
in playing a single beautiful note or chord, it will not be long before you play two beautiful
notes and then an entire composition.
Playing the guitar might seem like entering a great labyrinth with so many possible paths
and detailed instructions but if you follow the instructions step-by-step, you will reach the
desired goal.
3
PARTS OF
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THE
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Page 4
GUITAR
headstock
tuning pegs
nut
capstan
frets
tuning peg
fingerboard
cog
neck
strings
nut
first fret
soundhole
rosette
body
saddle
bridge
4
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Page 5
Tuning
It is important that you do not get your ears used to a badly tuned guitar. Please, always
tune first before you play the instrument. At first, it might be helpful to use an electronic
tuner. There are many ways to tune a guitar and your teacher might show you different
ways. The more advanced you become on the instrument, the more sophisticated your
tuning should become (using octaves, harmonics, certain chords, etc.). In any case, it is
important to train your ears.
The easiest way is to use a tuning fork and relative tuning. Strike an “A” tuning fork against
your chair or other object (but not your guitar!) and place the single round end of the
tuning fork gently against the bridge of the guitar. You will hear the pitch A resonating
through the guitar’s body. Match this pitch with an A on the fifth fret of the first string.
(Turn the tuning pegs toward you to lower the pitch of each string, or away from you to
raise the pitch.) Then match the fifth fret of string 2 to the open first string. Match the
fourth fret of string 3 to the open second string. Match the fifth fret of string 4 to the open
third string. Match the fifth fret of string 5 to the open fourth string. Finally, match the
fifth fret of string 6 to the open fifth string.
Open strings of the guitar
Relative tuning
5
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Page 6
MUSICAL NOTATION
In classical guitar playing, we use standard musical notation, which specifies pitch, rhythm,
articulation, and volume. I cannot emphasize enough the importance of reading music. If
one can read words, there is no reason for one not to be able to read notated music. The
alternative is that the player must memorize all exercises, studies, and pieces. It seems
obvious what the lesser task may be!
Pitch Notation
Standard musical notation consists of notes placed on a staff of five lines and four spaces. At
the beginning of each staff is a symbol called the clef. Music for the guitar is written in the
treble clef (also called the G clef since it curls around the line that represents the note G).
G clef
}staff
The traditional system names the notes (pitches, tones) after the first seven letters of the
alphabet: A B C D E F G.
The lines are named E–G–B–D–F:
w
w
w
&
w
w
E
G
B
D
F
The spaces spell F–A–C–E:
w
w
w
&
w
F
A
C
E
In order to cover the whole range of notes in all octaves, these letters are simply repeated.
Low notes are placed toward the bottom of the staff, and higher notes are placed higher up
on the staff. Pitches lying below or above the staff are notated with the aid of ledger lines.
The interval (distance) between two notes with the same name but eight notes apart is called
an octave.
E
F
G
A
B
ledger lines
C
w w
w w
&
w
w w
w w
w w
w
6
F
G
A
B
one octave
E
w
w w
w
E
D
C
D
E
ledger lines
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Page 7
Accidentals
Accidentals (sharps and flats) alter notes by a half step (one fret) up or down. Double sharps
and flats alter notes by a whole step (two frets). When a note is altered by an accidental,
subsequent occurrences of that note are altered within that measure only. The alteration is
automatically canceled in the following measure.
Accidentals are written with the following symbols:
s sharp
Raises the pitch a half step (one fret up)
f flat
Lowers the pitch a half step (one fret down)
n natural
Restores normal pitch
S double sharp Raises the pitch a whole step (two frets up)
F double flat
Lowers the pitch a whole step (two frets down)
Rhythm Notation
The staff is divided into groups of beats known as measures (or bars). Measures are separated by
vertical lines called barlines. A double barline (two thin lines) is used at the end of a section; a
final barline (thin/thick lines) shows the end of a piece; and a left- or right-facing final barline
with two dots is a repeat sign, and indicates that the measures within are to be played again.
Barlines
Double barline
(end of a section)
Repeats
Final barline
(end of piece)
The duration (note value) of a note is indicated by the type of notehead and the attachment
of stems, flags, or beams. Periods of silence are called rests, and have the same duration as
their equivalent note values.
w
h
Stem
Notehead
A whole note (and whole-note rest) is worth
four beats:
w
„
e
Ωç
Beam
Ó
An eighth note (and eighth-note rest) is
worth half a beat:
e
Œ
Flag
A half note (and half-note rest) is worth two
beats:
h
A quarter note (and quarter-note rest) is
worth one beat:
q
q

A sixteenth note (and sixteenth-note rest) is
worth a quarter of one beat:
x

7
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Page 8
Dots add half the note value to the note:
a half note, worth 2 beats
+
a dotted half note, worth 3 beats
=
a dot adds one half the value
Eighth notes and sixteenth notes can be beamed together into groups for easier reading.
The rhythm tree below shows the breakdown of note and rest values.
Notes
Rests
Whole notes
w
˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
Quarter notes
œ œ œ œ
œ œ œ œ
∑
Œ
Œ
Œ
Œ
œ
Eighth notes
œ œ œ œ
∑
Half notes
œ
œ
∑
‰
‰
‰
‰
‰
‰
‰
‰
œ œ œ œ
Sixteenth notes
≈ ≈ ≈ ≈
≈ ≈ ≈ ≈
≈ ≈ ≈ ≈
≈ ≈ ≈ ≈
The time signature is identified by the numbers at the very beginning of a piece (after the
clef and key signature). The top number shows the amount of beats in each measure and the
bottom number shows which type of note equals one beat. A time signature of Y indicates
that there are four beats in every measure and that the quarter note gets the beat. The
symbol c represents common time, which is another way of writing Y; C stands for cut time,
which is essentially a fast c time.
four beats in each measure
Count:
1 2 3 4 1 2 3 4
& 44 w
∑
quarter notes get the beat
8
1 2 3 4
1
2
3
4
1 & 2 & 3 & 4 &
1 e & a 2 & 3
4
˙ Ó
j
œ œ Œ œ œ œ œ œ ‰ œ œ œ œœœ œœœ œ Œ
HOW
TO
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Page 9
“HUG” AND HOLD
THE
GUITAR
We need to give great attention to how we sit and hold the guitar. All this will determine
how freely and precisely our hands move so they can perform their tasks. Everyone can find
a position that feels comfortable and brings complete relaxation to the shoulders, arms,
hands, and fingers. Most problems start when we think we have to do something “fancy” or
“out-of-the-ordinary.” In the words of my grandfather Celedonio, “When we play the guitar
we should feel the same relaxation as when we take a walk at the beach.”
9
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Page 10
1. Use a straight-backed armless chair or piano
bench. The height of the chair should allow the
right thigh to be in a horizontal position while the
left leg is slightly raised by a footstool (Francisco
Tárrega’s ingenious invention).
2. The guitar is placed on the left thigh and is leaning
gently against the torso. The guitar is centered with the
body, meaning that the soundhole should be
approximately in front of your stomach.
3. The right forearm is placed on the forward edge of
the instrument’s bout, close to the elbow.
The four contact points for holding the guitar are:
(1) right arm, (2) torso, (3) right leg, and (4) left leg.
Avoid pushing the forearm against the face of the
instrument because it will create tension and will
dislocate the position of the guitar. Instead, this
point of contact (1) should be a resting point for the
arm. Remember, your right arm is not holding the
guitar; the guitar is holding your arm! Center the
body of the guitar to your body, hug the guitar, and
feel how the guitar becomes part of you.
2
1
3
10
4
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Page 11
THE RIGHT HAND
At the beginning of guitar instruction, the student should devote time exclusively to playing
open strings to develop proper positioning, movements, touch, and sound. Later on there is
the inevitable tendency to pay extra attention to playing the correct notes with the left hand
while neglecting the conscious awareness of the right hand. Therefore, it is extremely
important to learn the feeling of doing everything correctly with the right hand, as we do
not keep visual control of it while learning and playing the music, relying almost exclusively
on touch.
Terminology for the Right Hand
The fingers of the right hand are identified with the
initial letters of the appropriate Spanish words:
p - pulgar – thumb
i - índicio – index
m - medio – middle finger
a - anular – ring finger
Placement of the Right Hand
Place your hand flat on the strings (fingers pointing
toward left leg) over the “mouth” of the guitar (1). At
this point, check the relaxation of your shoulders (3)
and find the best resting point for your forearm (2).
3
(The little finger of the right hand is normally not
used, except in the rasgueado strumming technique
used in the flamenco music of Andalusia, the
southernmost region of Spain.)
2
1
m
i
a
p
middle
knuckle
root
knuckle
If the wrist is relaxed, the hand will literally fall into
place, with the wrist bent slightly down. Let gravity
do its job! This curve creates an almost 90° angle
between the direction of the fingers and the strings.
Without changing the general position of your hand
and wrist, align the tips of your fingers (i, m, and a)
on the first (thinnest) string, and place the thumb
on the sixth (thickest) string. All the fingers should
maintain the same curvature and the fingertips
should be in line with each other.
Note the location of the root knuckle and the middle
knuckle.
11
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Page 12
Your First Sounds
Start by placing the ring finger (a) on the first string
and the thumb (p) on the sixth string. Without
moving a, place m on the second string and i on the
third string.
Put modest weight on the sixth string with your
thumb and let it literally fall onto the fifth string.
This is the note E.
6th string
E
Pluck the fifth string and let the thumb fall onto the
fourth string. This is the note A.
5th string
A
When playing the fourth string (the note D), the
thumb cannot rest on the third string but must fall
toward the index finger. Otherwise, it will prevent
the index finger from plucking the third string.
4th string
D
12
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Page 13
The index, middle, and ring fingers will pluck their strings one by one (the notes G, B, and
E, respectively) and move toward the inside of the palm.
3rd string
2nd string
1st string
G
B
E
The hand will end in this position:
Repeat this exercise several times until you feel comfortable. You have just created your first
beautiful arpeggio (broken chord) on the guitar, shown below in standard music notation.
6
5
4
3
2
1
E
A
D
G
B
E
p
p
p
i
m
a
13
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Page 14
REST STROKES
There are two main techniques for plucking the strings: the rest stroke (apoyando, from the
Spanish apoyar: “to lean, to support”) and the free stroke (enganchando, from the Spanish
enganchar: “to hook, to engage”; or tirando, from the Spanish tirar: “to throw”).
Rest strokes are used in scales and melody lines. When using the rest stroke, the finger touches
two strings—after plucking a string, the finger comes to “rest” on an adjacent string.
Free strokes are used in chords, scales, arpeggios, and tremolo. (You used free strokes to pluck
the top three strings in your first arpeggio.) After plucking the string with the free stroke,
the finger curls up toward the inside of the palm and misses the adjacent string altogether.
The free-stroke thumb plucks the string and returns back to the same string (or a lower one)
in a circular motion without resting on the adjacent string.
To the beginning player, rest strokes feel the most natural. The rest stroke teaches the
guitarist to have a better sense of touch, which will improve the sound of the free stroke. As
my uncle Pepe says, “The rest stroke is the teacher of the free stroke”!
Rest Strokes of the Thumb
The use of the rest stroke trains the thumb in its supporting role as an anchor, giving
stability to the entire hand. After plucking the string, the thumb drops onto the adjacent
string. Once again, let gravity do its job! The moment the thumb has dropped onto the
adjoining string, it quickly bounces back, in an elliptical motion, into position for the next
stroke. The adjoining string literally acts as a trampoline. This “trampoline effect” will work
best if the thumb is relaxed.
All movements of the thumb are initiated at the root of the digit (1); the tip joint (2) never
bends.
1
2
14
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Page 15
Exercises for the Rest-Stroke Thumb
Use all rest strokes, and keep i, m, and a planted on the first string.
Exercise 1
& 44
..
œ œ œ œ œ œ œ œ
œ œ
œ
œ
œ
œ
œ
œ œ œ œ
œ œ œ œ œ
w
p
p
p etc.
Exercise 2
& 43
..
˙
˙
˙
œ
œ
˙
œ
œ
˙.
Exercise 3
& 44
..
˙
˙
œ œ
˙
œ œ
œ œ œ œ
˙
w
Exercise 4
& 44
..
œ
œ
œ œ œ
œ œ
œ œ
˙
œ
œ œ ˙
Rest Strokes of the Fingers
In the rest-stroke technique of the right-hand fingers, the i and m fingers (the preferred
combination of the Romero family) are constantly alternating. After plucking the string and
pushing through, the finger rests against an adjacent string until it is exchanged with the
other finger, as if the two were walking. In rest-stroke technique, the majority of force is in
the root knuckles; the middle knuckles bend very little and the tip joint is relaxed so it can
function as a shock absorber. Keep the walking motions relatively small! The fingers should
have the agility and quickness of a cat.
15
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Page 16
Exercises for Rest-Stroke Fingers
Use alternate right-hand finger combinations (i & m, m & i, m & a, a & i, i & a), and
keep the thumb planted on a bass string whenever possible for stability.
Exercise 1
œ œ œ œ
4
&4
œ œ œ œ .
.
œ œ œ œ
Exercise 2
˙
& 43 ˙
œ
œ œ œ
œ
˙
œ
œ
˙.
˙
..
Exercise 3
œ
œ œ
& 42
œ
œ œ œ.
j
œ œ
˙
œ
..
œ œ œ
Exercise 4
& 44
œ œ œ œ
&
œ œ œ œ
œ œ œ œ
œ œ œ œ
16
œ œ œ œ ..
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Page 17
THE LEFT HAND
Terminology for the Left Hand
The left-hand fingers are numbered from 1 to 4,
starting with the index finger. In guitar playing, a
zero indicates that no finger is used, but an “open”
string is sounded.
The fingers should have a curvature, while the
thumb remains on the back of the guitar neck
approximately opposite to the middle finger.
1
2
3
4
Position and Posture
Notice that the left elbow is hanging straight down.
The thumb opposes the pressure of the fingers
against the fingerboard, and exerts only the
necessary pressure to stabilize the fingers that are
holding down the strings. When shifting positions,
do not leave the thumb behind (as shown below)!
17
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Page 18
All the fingers are aligned with the fingerboard and
strings, while all the root knuckles of the left hand
are approximately the same distance from the
fingerboard.
Your fingertips are always pulled towards the strings
by an imaginary magnet. Even in a relaxed state, the
fingers stay close to the strings and are always
prepared to play the next note!
Curve all the fingers nicely (like a “bunch of bananas,” as my father Celin tells his students)
and follow the natural shape of the fingers.
18
GETTING
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TO
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Page 19
KNOW
THE
FINGERBOARD
The fingerboard of the guitar is organized so that the musical intervals from one fret to the
next are half steps. This makes it easy to find any sharp or flat note since it is only necessary
to go up or down one fret. The same pitch can appear several times on the fingerboard on
different strings in different frets. This gives the advantage of being able to find a more
comfortable fingering for any given passage. However, it also has the disadvantage of making
sight-reading a little more complicated.
Strings:
①
②
③
④
⑤
⑥
19
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Page 20
First Reading Exercises
Practice the following exercises and short pieces with different apoyando (rest stroke)
fingering combinations for the right hand, such as i & m, i & a, and m & a. Use thumb
strokes on the lower three strings.
Exercise 1: E (first) string
E F G
œœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
œ
4
Œ
&4
3
1
0
Exercise 2: B (second) string
B C
D
3
˙
˙
˙ ˙
˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
& 44 ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
1
0
Exercise 3: G (third) string
A
G
& 44 ˙
2
0
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
Exercise 4: D (fourth) string
D
E
& 44 ˙
˙
F
Ó
˙
˙
˙
˙
˙
˙
3
2
0
˙
˙
˙
˙
˙
Exercise 5: A (fifth) string
A
C
B
& 44
∑
0
w w w
w w w w w w w w w w w w w w w w
3
2
Exercise 6: E (sixth) string
E
F
G
& 44
∑
w w w
0
w w w w w w w w w w w w w w w w
3
1
Exercise 7
E F G A B C D E F G A B C D E F G
œœ œœœœœ
œ
œ
œ
œœœœœ
&
œœœ
œ
œ
œ
œœœœ
œ
œ
œ
œ
œœœ
œ
œ
0
20
1
3
0
2
3
0
2
3
0
2
0
1
3
0
1
3
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Page 21
Exercise 8
& 43
œ œœœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œœœ œœœ œœ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œœœ œœœ œ
œ
œ
œ
œ
œ
œ
œ
œœ œœœ
Œ
&œ
œœœ œœ
œ ˙
Exercise 9
œœ w
œ
œ
œ
œ
4
œ
œ
œ
&4 ˙ œ œ œ ˙ œ œ œ œ œ œ ˙
œœœŒ
Exercise 10
& 43
œ œ
œ œ œ œ œ œ œ œ ˙
œ œ œ œ
œ œ œ œ ˙
˙
Exercise 11
1
2
3
1
0
4
2
3
œ #œ œ
œ
œ
#
œ
4
œ
#
œ
œ
&4
œ #œ œ #œ œ #œ
œ
œ
#
œ
œ
#
œ
œ œ #œ œ #œ œ #œ œ
0
0
4
2
1
3
2
1
3
0
0
4
4
3
2
1
1
4
3
2
0
1
0
3
2
4
0
1
2
3
3
#œ nœ bœ œ œ bœ œ bœ
œ œ bœ œ bœ œ bœ œ
Œ
&
œ bœ œ bœ œ œ bœ
œ bœ œ bœ œ ˙.
2
1
0
4
3
2
1
0
4
3
2
1
0
4
3
2
1
0
Exercise 12
& 44
œœœ
œ
œ
œ
œ
œ
œ
œ
#
œ
œ
œ
œ
#
œ
œ
œ œ
œ
œ œ œ œ œ œ œ #œ œ œ #œ œ #œ
œ œ #œ œ œ œ #œ œ œ œ œ œ #œ œ Œ
œ
œ
œ
œ
œ
œ
œ
œ
& œ œ œ #œ œ œ #œ œ #œ
21
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Page 22
Lesson No. 1
&c ˙
& ˙
œ
1
œ
.
& .
& œ
2
22
œ
œ
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Fernando Sor
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..
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..
8/18/09
2:46 PM
Page 23
Lesson No. 2
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23
8/18/09
2:46 PM
Page 24
Celino Romero
T H E A R T O F
Spanish Guitar
Preview edition
This preview edition contains excerpts from Celino Romero’s The Art of Spanish Guitar and offers an introduction to
playing Spanish guitar while explaining it in a way that makes learning both accessible and highly enjoyable.
The Art of Spanish Guitar embodies more than one hundred years of guitar playing experience accumulated by three
generations of Romeros. Celino embraces the variety of styles and innovations that the Romeros have brought to
this art form individually and through the many years of playing together.
The full version of Celino Romero’s The Art of Spanish Guitar expands on the topics covered in this preview edition,
and introduces new techniques such as rasgueado and tremolo. You will also learn pieces by composers including
Carcassi, Aguado, and Carulli, as well as essential exercises and studies by Giuliani and Tárrega. Plus, secrets of
the unique “The Romero Touch” are revealed!
The Art of Spanish Guitar and The Art of Spanish Guitar DVD are both available
from your local music store or classical guitar retailer.
with compliments
ISBN-13: 978-0-8256-3529-8
ISBN-10:
I S B N 9 7 8 - 0 - 8 2 5 6 - 3 5 2 9 -0-8256-3529-2
8
UPC
9 0 0 0 0
Amsco Publications
a part of the Music Sales Group
Order No. AM 989263
7
52187 98923
3
www.musicsales.com
9
780825 635298

to download. - Cordoba Guitars

Transcription

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