It is an honor to be editorial advisor for the fourth edition ofSolo Guitar Ploying. a book used by hundreds of thousands orguitarists worldwide. I have been studying and teaching from SoloGuitor Plaring since its first printing in 1968.
Frederick Noad Solo Guitar Playing Book 1 Pdf
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To the appendix of ensemble pieces for class use, I have addedsome favorites of proven success, in particular the highlyaccessible and rewarding: original works for three guitars by theearly nineteenth-century romantic Leonhard von Call. Extremely easyto play. I have found these trios to be a popular success withguitar classes and helpful in instilling that sense of ensembleplaying and accurate time-keeping so often lacking in students withprimarily soloist amhitions.
The supplements in this edition are the result of discussionsand correspondence with a large num-ber of dedicated classicalguitar teachers, and I should like to acknowledge with thanks thetime that they have taken lo explain their experience in thepractical usage of the book.
My first book, Playing the Guitar, was designed to w hel theappetite of the person who had found an interest in the guitar byillustrating various styles. This present volume is for the personwho wishes to express him- or herseir through the beautiful voiceof the solo guitar.
The guitar today is enjoying a level of popularity unprecedentedin history, and it is giving competi-tion even to the piano as thehousehold instrument of the musical family. While many use theinstru-ment only as an accompaniment to the voice, more and morepeople arc seeking to develop their abil-ities and explore the solopotential of the guitar, Lo the extent that few major cities do notnow have at least one guitar society where amateurs may meet andperform.
It was again a Spaniard who revived public in-terest in theguitar as a solo instrument. Francisco Tarrega (1852-1909) isrightfully credited with being the founder of the modern school ofguitar-ists. His remarkable playing, his innovations of technique,and his many compositions and tran-scriptions laid a firmfoundation for the present-day position of respect and dignityoccupied by the concert guitar. Through him composers and play-erscame to realize that the capabilities of the in-strument extendedfar beyond the secondary role of accompaniment. Isaac Albeniz,after hearing
If you are beginning the formal study of the guitar with ateacher, you will have no particular prob-lem, since your teacherwill allocate lessons and exercises at a time appropriate to yourstage of learning and will, if necessary, refer you back to aformer lesson when he or she believes that points have beenoverlooked or insufficiently absorbed. If, however, you havedecided to teach yourself, with no more assistance than this bookand your enthusiasm, then the following points will be im-portantto you if you are successfully to fulfill the functions of bothteacher and pupil.
At each stage of the book have your guitar in hand, ready toplay, so that examples and illustra-tions given in the text can betried out in context. The book has been designed essentially as apracti-cal course of study, and by doing you will learn.
The following two lessons are perhaps the most important in thisbook, since they cover all the basic movements normally used forplaying solos. It is important to observe the playing positionclosely and to try to form good habits from the very beginning.
BEGINNING TO PLAY The Rest Stroke This stroke is the mostfundamental and useful in playing successions of single notes onthe guitar. It is also the means of developing a strong clear tonewith the right hand, and probably the greatest dif-ference betweenthe professional and the amateur player lies in the use andhandling of the rest stroke.
Revised and Updated Fourth Edition. This well-known method is used world-wide by teachers, though originally designed for self-instruction. With sufficient material for at least two years of study, book 1 has 254 pages of music and text, which includes 150 exercises , most with an optional teacher accompaniment, for technique and step-by-step learning of the fingerboard. A basic solo repertoire from the works of Dowland, Bach, Sor, Aguado, Tarrega etc. is included, and there are duets and trios suitable for class ensemble.
Express yourself through the beautiful voice of the solo guitar. Solo Guitar Playing can teach even the person with no previous musical training how to progress from simple single-line melodies to mastery of the guitar as a solo instrument. Fully illustrated with diagrams, photographs, and over 200 musical exercises and repertoire selections, this book offers thorough instruction in every phase of classical guitar playing. Complete coverage of individual skills includes: Basic technique; Reading music, memorizing, and ear-training; Mastering the fingerboard; Building dexterity and speed; Developing tone color and musical phrasing; Position playing; Interpretation; and more. Since its first printing in 1968, Frederick Noad's Solo Guitar Playing has been used by countless students and teachers of classical guitar. The fourth edition features revised and updated exercises and an expanded selection of solo guitar repertoire gleaned from the best-selling Frederick Noad Guitar Anthology. 2ff7e9595c
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