om fj « hod « a | a CEWDEFI—L YAY AML BR @ PPR a IL, GUITAR METHOD FOR CHILDREN by Masaru Koyama JEN-ON MUSTOAL BR by Masaru Koyama x# 2 W (RWS LORAIN) FORWARD (Addressed to elders in the family as well as to the teacher of the guitarist) &IDKIIWWT HI —-(d, EPS OAWMY WU ORBBRB TROL ERR YL CORR ARREE BO BEC, BAOA CARI Ak CBAL, ore RU RECURRED oTHU SI, 6 DRAIE ELORETS. XP HHLBRTE MILF REOBORETT AS, LU Rm TIAMAL NILE BL mMEL TL FF PRIM SRR LREOTRELA, SSR Li tine L CPR IEC U PS LSAe REE OIBMAEASNET, CORRILA I -E ROMLOBRE BITE TAI E LV Mae Weg t, LOMA L CREA, FI - ki CES LULA AY Mabe CARIES RL ¢ HOU SSI ERA LED AMOR MIR AECL CMALA LOTT, & About This Book: The guitar, along with the harp, organ and piano are superlative solo instruments, requiring coordination of the performer’s mind and hands with the par- ticular characteristics of the instrument. Each complements the other, providing a large range of creative possibilities. In Japan, the popularity of the guitar has grown rapidly. Especially recently, performance level has increased, and knowledge of the guitar itself and of its repertoire have become widespread. Assisting in this is a new trend among the lower grade students in the primary schools who are form- ing practice classes together. The present text was written with the idea in mind of giving such a new learner the proper basic knowledge in a form which should be enjoyable as well. In addition, it has been edited with particular attention to those students who will going on to the higher levels of performance. & LLM IXIF-l2IWWT BPFH AVYOEINESIBLA HA AU MES CECA. DECLARE GNIS Bt 4 RDI —- OAR AAT HE CT AS 1K WBA MB ROK F —-CRBETSZ ILIA, FO ASMILE SMC ULI FP -REAZZIAT REOMMEOAS SAMBIG VAT. LaLEWibRRCTLBEIRU TREX 4 DIRE ORN ARE L FF OL) SERRE o> 5. S615, OF MFR LRA SMRAS I — LAL PCMBELTOETF, BAREIS DY ADEMERS ERAT SOC LE DE-REC TAL, HERA RIHASRH A DEI-@ILER EI bHeSLI“VIUVIAB WOMEN SHA, REBOKS FL LOR DERN VY) HSV LAMM TBe CI EN Ie LDAHOKS SIGIR I-EBAL TCR AY, # Guitar Suitable for a Child The size of Guitar suitable for a child is not fixed in any particular fashion. Children in the upper grades of primary school, and older,may use an ordinary guitar; but, naturally, for smaller ones, difficulties arising from their limited hand size as well as prob- lems in cradling the instrument rule this out. Fortu- nately, these days, guitars specially made for children, even those as young as 5 or 6, are being manufactured and sold. It is of utmost importance that the instru- ment be balanced with the size of the player and that the child not be allowed to use just any guitar that might be in the house. This will surely interfere with his progress. By checking with shops that sell musi- cal instruments, or consulting teachers and advertise - ments for children’s guitars (such as the one on the last page of this book), it is possible to arrive at which size would be the most suitable for the child. ©1975 by ZEN-ON Music Co., Lid, CASA PENTHOVENB Lothar et2z4 takes a count of 4 beats 2oCPER LOL ML ES one whole note. J (2) — LOCHEH | OURMURS four of these are equal to the whole note. SOCHEH | OLMURS duration. 6 CHAR LormelukS one whole note. TROL D7 Tuning Methods DENSbHUA (MR) IL, HFI- EMC Lee MUEG, WOLMBT SIU ALES ZIvCH. (LUHlL 6 KOKO E SRE RAEMFSERIONOE Te EF. EL Ch PRESB CARAS ROFEORE elacbHay. tbl BSREER, SALTS, EP/EYC IFA, MEL Sb td, Klos BSRDS TL y b EMA CH LEB (LIK 4 ROMRED PeSbtS. Be SbtS. BeSHts. Ryle B2QHOST ey b eR TH LEC) | KORMRED BEGHtS. Rblerres BOKNS 7 y beware Teh BE(F) ERS ROMREOS CBLIT 4. Rbie BARONS Ty beRA TH LEE() ER 3 KOMREOD BQROGT Ly b et A TH LES (Y) IE 2KOMRED The ability to tune the guitar will increase with practice much the same as performance does. At first, it is better to use a six-toned pitch pipe. Then when proficiency in hearing the distinct- ions between pitches has been acquired, the following method may be used. First ---- The fifth string is tuned to an A — use tuning fork, piano or pitch pipe to get the correct pitch. Next --- Pressing down the fifth fret of the fifth string, tune the fourth string to correspond to it. (D) Then ---+>- Pressing down the fifth fret of the fourth string, tune the third string likewise. (G) Then------ Pressing down the fourth fret of the third string, tune the second string to it (B). Next --+++++ Suppress the fifth fret of the second string, and tune the first string to it. (E). -Suppress the fifth fret of the sixth string (A), and tune it to the open fifth string. two of these get a count equal to eight equal the whole note’s 16 of these take a count equal toFY — DR EAR ILS BOT Terms Used on Guitar Scores ERED ERT OT Signs Indicating Fingers of the Right and Left Hands Signs Indicating Strings 3 a ! i ag 4 p AF left right BFOUSRF @Pu-P7it{r FEOMROH SI LOTUC PRT, BEI UC CBoa ys CVA SRAH Css 0ET D, MPA OoL ekBo Cl shad lc w#ELET. Ort F HOMMOHS ES, AHILLT, Fl Mise BILAL AIBA LMI LOU SEIN LEASUK FET, USRoh HULK HID LD dole ST. LCN2ZOMUEBOBOPU, by Ave SURREAL A BRL TOPRG ALL ON EtA. BROMILOW T BIIV Y PEI -NLBHOM EMD I 5 PE BOR) Ob DCA 2 LE, OIF LER CHAT AZOABBTTA, OIEL ENO, MHORAOY FX ae CHEBCL CBS EAMES LE Ae LOLMAFRD I HILAR EF LEM MhoLOLT LEAR, BRESCOD HVERAHSMICLAMRINRZT (£IuLETt. LOGGERS RS Q@S000 DOODOOO DEMEFILOTH LATHE, BAM 5H ZT. String numbers are always enclosed within a circle. Numbers are indicated beginning from high to low. How to Play with the Right Hand & Al Aire The entire finger, including joints, are involved in the playing movement. The term ‘plucking’ the strings is applicable here. Take care that the arm does not move together with the hand. ¢ Apoyando The movements of the fingers themselves is not as dynamic as in the previous method. After plucking, the fingers should be resting on the next string. The student should learn the difference be- tween these two different types of playing as his lessons progress. About the Nails of the Right Hand @elt is usual in classic guitar playing that the nails of the right hand be allowed to grow out to a length of 2 millimeters (when viewed from the palmside of the hand). They should also be filed with an emory board or very fine sand- paper so that the outer ‘corners’ are removed and the edges smooth and rounded. However, while the performer is still a child, this is not always a condition suitable to everyday life. Therefore, in the beginning stages, the nails need not be lengthened, but can be so later on, as the student’s performance level requires it.RYYavR Position Diagrams QSPOMIsBIRYy sy (ASLHAHIZ Diagrams below indicate the scale obtained in Ly Fe SIL CHR) CORT, tHe Ist position in which the index finger (1) holds MOBY AROMA SHH (FEYy b)YOR down the first fret, It also shows the various (KemRLELOTT. pitches and their relation with the left hand fret position. O--# 4B (ib TBO ze o--left hand fingers not used, open string O-PL BOM, BFLLORS LEAS marking. DHSS, @ ---location to be suppressed. The numbers are the fingers of the left hand which are to be used. >) (2) (3) (4) (S) © Q Co nn Q: Dik ~ ORT HEE Open Strings 1~6 (2 FF ) (Whole Notes) g y v L 01s = E B G D 5 9 s (4@F)1 2 3 4 A 3 Count: One. Two, Three, Four E BAMFELVANH TARAS T(AS LB), & Count to four carefully. Using i (the index m(?P48) RBI CD~ ORE DOI finger) and » (the middle finger) alternately, Ul TAZL EV. play notes | through 6. QTL PAL, PHY FOMASBITFTZT @ Learn both the A/ Aire and Apoyando methods. CALS (2 3 FF ) (Half Notes) (4F)123 4 — Count : One. two, Three, Four oo (47-84) (Quarter notes) imim imim mimi mimi eff T tT] S et el eu C11 (@F)1 23 4 0 = 010 QaeK & Osh & Bio 72 FF Scales Using the Second and First Strings mii 7 9 DLLACLEBEEVET HS, HEOVO de Now we will begin learning how to use the Ove kK MY Clom LAR EBIT left hand, so listen carefully to your teacher, ZELEF. and learn the correct way. PPLZE7L yb NSF, Cl TIO RS & The fret number is the same here as the finger LEU CTA VAI, RIMM FAO HE BI number. For example, the first C to be played on GC, AIL CTA L 7 Ly bEBl Te the second string @) for the finger number is 1, y bEMRR ET. RMLILZDHEIEINT, and the first fret should also be suppressed. PoeybbhB3a7eyh ct. The next note, D, is played by the third finger (3) and the third fret is also suppressed. DEM AK | OMIMARS CH ZKE SIL & The first finger (1) which plays the C is kept THRET, held down until the end. HmspoHIACHSH (mimi) bavzALwMIF @ Practice this pattern again starting with the Ble, middle finger (mm).AWD RAFY— Four Melodies f_f4 __ f}—_——54 3 a B/N A CDA) ERIC IAL, ZOHO & Please note that where the fourth finger (4) is owe BERINT, Pb) 11 DRE used for the G, for the previous D is played with the third finger (3). ben is thes same as _ LRU BRO CS (OP eet II: Pubes, come Cupar. The Repeat Sign. Material within the signs is played again. aayEt Student Hoe Teacher BIBLES Lightly Row R4Y RE tI BR aR German Folk Song Edited by M. KoyamaBAT, 2, AOS ADDE Whole Note, Half Note, and Quarter Note Combination ys 4 lsu RR fe 1 F. Beyer Edited by M. Koyama ik Student KE Teacher 2 ww 4 DW (lA Yyr-yYar) ih TR HR F. Beyer Edited by M. Koyama (Variation of Piece Number | Above) zk Student RE Teacher Qs) 2—-y ay (Variation) (i "RR, OC de Changes applied to the basic musical pattern UT, EEMBIRILEHBAKAZKEDEWY are called a “Variation”. zt. 1314 SR ALAE Lt PREP Rests and Dotted Notes 4DRILTI DAA L 7 YS 4 DL Quarter Rest Practice F, Beyer | Cee (@F)1 2 3 4 Count : One, Two, Three, Four OD ON-YORIHSZ EIN, HOR NT & As shown on the chart on page 6, there is a DSP AUS AMBAAYT ET, COT rest corresponding to every note time value. (LO DMA EEL SC FAZLYEHAL MIL On this page let’s practice quarter rests. gL. HRQZDPEAONAL wh Nh nD Dotted half note practice F. Beyer =573 a rhe tp Count: One, Two, Three, Four ° Ot hSHA, bx DEADERSILELIEDO & The dot indicates length increased by half RS eEMZALLERTLNT, FNTOR again the note’s basic length. Any note’s FPILOU ZILA TRS, length (time value) may be increased in this fashion. oe LEA oT pp SHO TRLETF, if ~ P + f therefore P equals 3 beats.~ dr > D527 Cuckoo M47 Re vy FR Seb German Folk Song Edited by M. Koyama Student Teacher DIRE LBM vot dato YALE @ To bring out the rhythm inherent in the 3/4 Us aFicRRLEL EG. signature, put stress on the first beat of each measure. IbBARBARA PNIVRE Gentle Bee “hil BR Ath Bohemian Folk Song Edited by M. Koyama17 Dik & OGL ® tir ke Fhe Scales Using the Third and Second Strings 2 A BA BIR B27 yb PA Ba open string 2nd fret open string MLE New Notes nal Exercise bitciad pat Spat eles |PRAAD 9 fe Song for the New Student E47 R BSS ee rerPerer? Pe a DBPLEHIUISZETHAL MITFSIL, Practice it can be played rapidly.Etude arn , vl A Aah wo!) C. Czerny Slowly Edited by M. Koyama & Jd is de) LAU TTH. BRPBAL2Z0T I de Jd is the same as dd Two eighth notes wlio oET. get one beat. CASA BEETHOVEN Rambla Sant Josep, 97 08002 Baroelona20 Ok & Otk & Bio k FH Scales Using ths Fifth and Fourth Strings B37 b BARR R27 yk B37 by b Third fret Open String Second Fret Third Fret RL OE New Notes nraALw7 | Exercise | nmALwDI2 Exercise 221 SHS5HR Twinkle, Twinkle, Little Star PIV ARB clsL HB He French Folk Song Edited by M. Koyama oa Ge eee eae Doe Teacher P P P P22 POYVYA : AA Amaryllis 3 Ghys ae Ge. aie 2a 0 (44-F) Count :theee, Four, Two, Three, Four. DBTOLORILTL—-X (40F 4 -N6*® de Lines above the notes indicate phrasing (turns Y) RL Et. CMBM EFI HE in the melody). In pieces which begin in the LAPPO MBA SLU E ZB TCIAFIC TL - RD middle of a measure, such as this one, special RMROT 7 ey bike LEL EG, attention must be paid to the phrasing. BRORENZAL w 3 Whole Scale Exercise OC og et pee Le Oj jou eet Po] 1é¢é2¢344e One,und, Two,und, Three.and, Four,and 2WU1FSSCLELEEMHRB RON TET, de Exercise 2 uses all the notes we have learned’! SPEND, & CIRCA ZETH this far. Practice this one until the proper flow > PMR ee tCnALwILELEIA. of eighth notes has been mastered.23 Two-Voice Exercise DAF eli, 2QHBM LIN KIT, -OR de The term ‘two voices’, the same as with a two- RH2@OBENS DT ZL, FRAG voice choir, means the melody flows in two TLL ODkUF 4 -DiFiNeE, LOO TE different lines. In musical terms, these voices ay Lowes. are called “parts”. naAL we? Exercise m m m m A Ie YN F. Carulli Hil DEBiL memo ET, HOMIGTS @ Play all of these using 7 and m forcefully and Mabrow Sie BLEL EI. at the same time. Be careful that there is no space between your fingers. DAL L oA NRAZSELIE, de To learn to use the fourth finger (4) skillfully. bd ()) eROK2B Two Voice Exercise Using the Thumb (p) nil i (6 Re) Exercise (interval of the sixth) i m i m i m i m +O 109 30 20 Go 20 To Pp Pp D POBOALFI—#WC IR THA @ The proper use of the thumb is extremely im- OCF, KEORAS LC MOTHAL DI portant to the playing of the guitar. Listen LEL4E7. carefully to your teacher’s explanation and practice well.CSREES Two-Voice Practice in the Sixths feta Se Sy toe jy od eS SS Seay25 ADU2s" Moonlight 79Y ARE “LR Ah French Folk Song Moderato Edited by M. Koyama f) J Wheta @ aa fil fa i CY AT 3a a resets 4 Bmp (XLV EPS) 4242 95 ¢ 4 =mp mezzo piano (medium soft) D Ff (KV 7FNF) 42 ge & %f mezzo forte (medium loud) 2,3, 4 OKSBEO( Mic, KOK, x While playing the 2nd, 3rd and 4th beats of OV(PRB CML TLE PRY LIMES this lower voice, take care that the sound of LELEG. the whole note G does not die out.r+ ZA PZED IE Fo 4 7 RE : Al BR Hiab The Changeless Choir German Folk Song Andante Edited by M. Koyama dad sui, D Pp3£REONAL WI Practice in Thirds Yruibar bul Be Ha C. Czerny Edited by M. Koyama HE Student [TX KE Teacher pera fess ei @ Z a es we ¢ I= jaa SS SI = LCOBSO 2, BI ROMRBAEZEOOT, DHVIRB2ZRNSE TLE y beEMOET, In this case, the E cannot be played using the first string in open string position, so the second string in the fifth fret position is used. 2728 Andante m ta PF J. Kiiffner m i Bite Student cae Teacher29 Osk & OFk & io kA Scales Using the Sixth and Fifth Strings — — — = 3 — — 30 03 20 oo 10 \ ®---------------------: @-----------------4 . = IP v 3 v k E F G A B c PAAR, BleIeyb B8I7vy7> PARE B27Lyb open string First fret 3rd fret open string 2nd fret LE New Note BK CDRS a Scales Using All Strings Lée2e3e4e ‘One, and, Two, and, Three,und,Four,and = 8 KT is an eighth rest. feta BEA ogg30 bey r-T7)l4, bYEMBKLNKSEC TS eM ERT se, —— BI TL y beMAS. ® Use the first fret. @ This sign is a sharp. It means that the note it is beside is played one-half step higher than originally written.A ow" F. Carulli ® DC. al Fine (Za # Pl 74—#) lt Udlitt ot Fine THbS, = 7 Pr" Pic al Fine & This expression means go back to beginning, repeat and end at the mark, Fine. 31wo} F. Carulli a Allegretto Poco 32AWAY Y M. Carcassi OtFFadw QnBRF ETF aay LU, £Ob(7 Fy bh) CRUStheE, Bebe. CERTBECT, The natural. § This sign is a natural. The note with a natural in front of it is played as it is originally written, cancelling out a sharp or a flat. 33iPS HH 26 cee Exercise No. 26 ah Cone eee on pf rfoet re ee PrP RP ore Glider thet A wr Pa Srl eR eleRY—-EADOOE enn Mary Had a Little Lamb rl BR 8B American Folk Song Edited by M. Koyama Allegretto m t TE=a YOK TC FIY ARB The Bridge of Avignon ‘lB Hab Allegretto French Folk Song Edited by M. Koyama 35uy UB London Bridge 4¥VAZRB Allegretto ‘lib FR ebb English Folk Song Edited by M. Koyama DRFNY + —-T BBO UCHILD 1S Hd, LOATH RMCEAN TZ IL ERL, COI TC BZENTOUA py libwo¢ cxvicey av. Key signature of Key of G When a sharp is written at the beginning of each staff in this way, it means the piece is written in the key of G. Therefore, each F must be played as if a sharp were written in front of it. 37CLEYDIR Fo4 7 Rig The Little Bird’s Song Deh BR Hh Moderato German Folk Song a i a Edited by M. Koyama rae:Andantino PRS Hh 29% Exercise No. 29 Yabo vl FR Ha C. Czerny Edited by M. Koyama 3940 DE Il FOBMUU SA TILE LOEB CH, PAE HohBOL I CUISIEGIER LaAbUSEL EF. The resonance of chords played on the guitar is particularly beautiful. Take care that the several tones blend well with one another. Fle Chords a m i tS 3 oo Pp mmm m uc wt & 8 8o 3 rirt ort Pp P DSB CHL KMFILG KRORMBAY SY ASCE EG, © Cit a RIB) AK aw SOW kICEBLEL EI. db LAOTORORBIS, LOPES MAH TTR TOZLUHHANET, LMEGI AG EOAZVALMIDRLALDEPIN YAO, _ —_ 3 & Take care to see that chords written in whole notes are well balanced. In particular, atten- tion should be paid to the top note played by the fourth finger, as there is a tendency for this to be weak and too soft. 4 The lower score uses the same chord as the upper score, only the notes have been distri- buted differently. Chords broken up into in- dividual notes are called arpeggios.41 PVUADF Arpeggio ge STD TQ $807 ek 3cnb eu Triplets “7 * 7 4° Three notes played with equal value on one beat DALAL EMTEL, SEMA \HSMBEU @ Let's practice the above four groupings with WTAEL EF. the following pattern as well. Var.4 mim mim42 Andante m7 Ww F, Carulli D LOHIET IVY tT (4IX— 7) 2G oOWO MAL MIM oTHSAUAZIL, # This piece should be attempted only after the arpeggio practice 3rd pattern, page 41 has been done.- Etude av» wy F.Carulli QTV (HIX—) OVar6 Ao th HILLHSZIX, _ 7p. r- al Fine @ This piece should not be done until arpeggio practice (page 41, Variation 6) has been begun. 43Moderato por FHP r r 3 ? 0 a45 QgI4 dThe Tie. —~ — MUS OMeRALEMR(—-, ~~) e741, This mark means that particular note must LO, RORLODPINLE MI OORS be held down (allowed to sound) until the end FEHNFEFZMIXLTH( LCLUEBMRLETF. of the phrase line.46 TY—-yv AY—-TA AY ARE = Green Sleeves ape aS. Bex ts Age 432 as Uo w Slowly wo¢ Lento Se : Fine48 FeYya—F Prelude A wy F. Carulli REE Sone tPA EPR BEES tA PP SPER Pi PHUNS-VOMAL MILAUEDIZ, KOBW & Let's do the following pattern the same as on TEU TAEL EF, page 41. Var. 1 , of Beethoven’s Ninth Symphony. It is written Jr, Fy, ViLOR ETA, ¥I-— TAF here in the key of A, and has three sharps: VUSOL BRESAF CT, C, F and G. This key is particularly well suited to the guitar’s resonant qualities. DBe-VES HT, BFOHOWWVE TI de Let’s practice left hand fingering, including the WiKhALMIF4Z OLX, ceja very carefully.54 BD AGHlE—, ORTH TINA GOM # The Slur —, —— means that the notes tied Rib pliot CLL SBT SF CT together in this way should be played without BB, EI -—TLAP—ANZBIAABEGT a break in sound one after the other. But on ek at. the guitar the slurred sound can be produced only by the left hand. 8 atl t t DMMREU LAA 2HEMEBAT LI BE EBOOKS NBCKHETLVoPSs (iL CHERLET. FILES L TY ORERLET. d To produce this, first pluck the open string ¢ To produce this, pluck C, then after allowing then tap or hammer with 2 (second finger). finger | to catch a little on the string pull the string and release it. DIMM ALLE 3H D ZHCAP-#UC BH LAT L341 EO Mb BSTILIIL (OP pO | wid FEIS IAT BATTEN CH 1, AG-L4F. PATCHETT. emul at. @ With 1, held pressed @& First press down the F de For this D, just tap or down, tap or hammer 1 before playing the hammer with 3 on the with 3 to produce the slur with 3. second string. slur. Z 1 —— ~~ BIL UMAOMREREN EUWYT, DIC 200 @ Pluck the first open string, and the next two PUL AG— eM MAEET. notes will automatically make up the slur.LI DFP IRAC The Mountain Musician R47 R vdyuLy i he German Folk Song Edited by M. Koyama 55a rr M. Giuliani Andante 2 2 2 2 2 gw Miia = » feo & ? — = = *: cai al58 Lykz7— ta FRO . ‘Il BR RR Landler J. Kiiffner Edited by M. Koyama Allegretto C.2.- oon fe Student FE59 ra ey cy High Range and High Double Notes OKO 2OMBMILE OAK AUCLOTHAS, LE 2D2ODFHR AMR) TOU TAEL £3. & The following two scales are exactly the same, but let’s play them using the two different fin- gerings, | and 2. DRCETILNEABORFIL, TOM ERD 4 On the left hand for finger numbers linked by SH EILE ATI BHLET. lines, change position without releasing the string. Sl, 2eEYRISLAASESEVOSEL EF. 4 Using | and 2 as a model, let’s now play 3. p—1—- 4 Sh 1, 0 gett Hat emu—V74 Die Lorelei F. Silcher Moderato6 20! HOT RE Scale Exercise in Six Keys DROASSMMRB LY 7 — CHIC LC RbnS BATHEAN TET, MUP tb, Chen KMBIUSE CS ENTOT, KOVT L-F 5) FTAA EL -OF OM. CN MTZ Ix. — EH Key of D de Each of the following scale exercises is written in a key frequently used by the guitar. Al- though brief, they contain many important points. While progressing on to Grade 5, practice each of these long and carefully. 61N wo eo YY) F. Carulli 7 Etude tigi if |f ta | | ee lel "9 ss Pe sserer 463 re CY f\ ros DC.al Fine64 PU-K Anglaise TY vey F. Carulli a AndantinoA SO pee ae Tor ote Orr B- m Fa grrr’ Ort’ itr a (a r on ae a_*—66 YI F. Sor AndanteBLD 2S Judas Maccabaeus G.FoNY FIL vd AB Bah Andante G. F. Handel Edited by M. Koyama d Fine r Pre 69Iyk—N VA (38 (BRO BH 4 ) Contradanza de Los Curtacos a PrIvIF4Z—-v Allegro i es Na eT 7 re