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Preparing to Play
Getting Started
Tunes and Tablature
Making Notes
Regional Styles
Taking Off
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GUITAR GUIDE
GUITAR GUIDE
Preparing to Play
The Guitar: A Noteworthy History
The Ancient Roots of the Guitar
Early Guitar Masters
The Guitar in America
The Folk Revival
What Is a Guitar?
The Parts of the Guitar
Guitar Styles
More Guitar Talk
Selecting a Guitar
Guitar Variants
Buying a Guitar
Before Shopping
How Much to Spend
Acoustic vs. Electric
New vs. Used
Shopping Tips
Sound Advice
Fitting an Instrument to You
Common Guitar Brands
What Will a Dealer Do for You?
Mail Order
Accessories
Strings and Things
About the Fingers
The Playing Action
Strings
Tuning
String Stretch
Getting Started
Beginning to Play
Playing Position
Sitting Correctly
The Left Hand
Chords
Changing Chords
Why These Chords?
Minor Chords
The Right Hand
Right-Hand Playing Position
Preparing the Nails
Right-Hand Chord Technique
Rhythmic Variety
Further Practice
Advanced Right- Hand Techniques
The Rest Stroke
Alternation
Practical Work
The Free Stroke
Arpeggios
Tunes and Tablature
How Guitar Music Is Written
Guitar Tablature
Rhythm and Counting
Time Signatures
How to Count Time
Ties, Rests, and Damping
Some Familiar Tunes
”Au Clair de la Lune”
”Drink to Me Only with Thine Eyes”
The Eighth Note
Nursery Rhyme
Counting Beats with Fractions
“The Ash Grove”
More about Dotted Notes
“Greensleeves”
“Muss I Denn”
Irish Air: “Endearing Young Charms”
Varied Accompaniments
Playing Chords and Arpeggios in Tablature
“Down in the Valley” (Folk Song from Kentucky)
“The Riddle Song”
“The Streets of Laredo” (Traditional Cowboy Song)
“Aura Lee” (George Poulton, Lyrics by W. W. Fosdick)
Some New Chords
The Half Bar
”Waltzing Matilda” (A. B. “Banjo” Patterson)
A First Solo
“Andantino” (Ferdinando Carulli)
Rhythm Practice
Advanced Counting
Sixteenth Notes
Smaller Note Values Do Not Always Equal Greater Speed
Mixed Rhythms
”William Tell”
“Leaves So Green”
“Humoresque”
Triplets
Slur Techniques
The Upward Slur (Hammer-On, Ascending Ligado)
The Downward Slur (Pull-Off, Descending Ligado)
Slurs on Inside Strings
Practice for Upward and Downward Slurs
Rhythm of Soleares
Exercise for Left-Hand Solo
The Full Bar
Playing a Full Bar
Chord Sequences
12-bar Blues
“Dream a Little Dream of Me” (F. Andree, W. Schundt, G. Khan)
“Dream a Little Dream of Me”
Making Notes
How to Read Notes
Why Learn Notation?
The Music Staff
Notes Above and Below the Staff
Tones and Half Tones
The Octave
The Notes on the Staff
The Notes on Each String
The Scale
Sharps and Flats
Accidentals
Tunes from Notation
“Plaisir d’Amour”
“Londonderry Air (Danny Boy)”
Music in Multiple Voices
Independent Voices
“Andante” (Fernando Sor)
“Bourée” (J. S. Bach)
“Country Dance” (Frederick Noad)
Regional Styles
Elements of Travis Picking
Syncopation
”Careless Love”
Folk and Country
Keeping It Steady
Basic Chord Shapes
Picking a Country Song
Introducing Flamenco
The Flamenco Forms
Development of the Solo Art
Technique
Right-Hand Techniques
The Rasgueo
Four-Finger Rasgueo
Down and Up Rasgueo
Rhythm of Soleares
Farruca
Latin Rhythms
Tango
Rumba
The Beguine
The Bossa Nova
Carnavalitos
The Blues
Taking Measure of the 12-Bar Blues
Seventh Chords
Getting Down to the Blues
Classic Country Blues
Walkin Blues
Rock and Roll
The Boogie Bass
A High-Note Solo
Lead Guitar Solo
Lead Guitar with Accompaniment
Taking Off
Chord Formation
Chord Families
Related Chords
The Relative Minor
Other Useful Chords
Transposing with the Chord Clock
Moving up the Fingerboard
The Positions of the Guitar
Ways to Change Position
Notes of the Fifth Position
Equivalent Notes
Natural Harmonics
Study in E Minor (Francisco Tárrega)
Plegaria (Guillermo Gomez)
Classical Virtuoso Secrets
Tone Production
Vibrato
Tremolo
Dividing your Practice Time
Additional Study
Putting It All Together
Study in B Minor (Fernando Sor)
Study Note, Study in B Minor
Romance Anónimo (Anonymous Romance)
Study Notes, Romance Anónimo
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ÌÀÃÈ×ÅÑÊÈÉ ÐÅÀËÈÇÌ , òåíäåíöèÿ â èçî-èñêóññòâå 20 â., çàíèìàþùàÿ ïðîìåæóòî÷íîå ïîëîæåíèå ìåæäó ñþððåàëèçìîì è òðàäèöèîíàëèñòñêèìè ñòèëÿìè òèïà êëàññèöèçìà èëè ðîìàíòèçìà. Äëÿ ïðåäñòàâèòåëåé ìàãè÷åñêîãî ðåàëèçìà (íàïð., Áàëüòþñ, ïðåäñòàâèòåëè àìåðèêàíñêîãî ïðåöèçèîíèçìà),õàðàêòåðíà òùàòåëüíàÿ ïðîðàáîòêà áûòîâûõ è ïåéçàæíûõ äåòàëåé ïðè îäíîâðåìåííîì àêöåíòèðîâàíèè ÷åðò ðîìàíòè÷åñêîãî îò÷óæäåíèÿ, ñêðûòîãî ñèìâîëèçìà, áëàãîäàðÿ ÷åìó èñõîäíûé ìîòèâ îáðàùàåòñÿ â íåêèé ñîí íàÿâó. Ìàãè÷åñêîìó ðåàëèçìó ñâîéñòâåí ìíîãèì ïðîèçâåäåíèÿì ïðåäñòàâèòåëåé "íîâîé âåùåñòâåííîñòè", ìåòàôèçè÷åñêîé æèâîïèñè, ÎÑÒà.
