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  • Alan Hanlon Kreutzer For Guitar PDF

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    Alan Hanlon Kreutzer For Guitar PDF

    Diunggah oleh

    Rob Carroll

    Hak Cipta:

    © All Rights Reserved
    Unduh sebagai PDF atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
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    “KREUTZER GUITAR (Pick Method) ALLEN HANLON KREUTZER GUITAR (Pick Method) ARRANGED AND REVISIO. 8 ALLEN HANLON SINGLE STRING (TUDES TO IMPROVE Cert Ane HORT ANB TCOHNIQUES e AN aip To SIOMT.AEADING CONTENTS. Lesson Pose Picking .. Fingering serene “1. Kroutzer Etude No. 2. 2. Kreutzer Ftade No. 3 3. Kreutzer Etude No. 4 Sa. Kreutzer Etude No. 5. 5. Kreutzer Etude No, 6 6, Kreutzer Etude No. 7 \, 7. Keeuteer Etude No. 8 Na. Kreutzer Btude No. 9.. 9. Kreutzer Etude No. 9. i 10, Kreutzer Etude No. 19 2 copyright 1961 by HENRY ADLER, INC ‘ALLEN HANLON] Allen lintoa, 4 patie of Long Band, Sev York, hat bees 4 profesional gultarst for all of Ais at year, te sud olla for vera yest Bot, at the age of fourteen, decided thats furte lay with he gitar Dusing dhe ming eta he psy TAC Msa br pony Gondesan, Rev Novye and Clande howl folowed ts with a extended ay withthe 1 an toc sadio a ‘TV programs: and in the Sighly pecatined ab af ecceding and commerla! taneripkions, Hit ces rout to meatlon, for et sflce to say iat «large percentage of gustar ssonde "onthe aif" ae hits ie Albe"s sincere wit tat the poser contabe 4 advance sss fepninae lnmtrument tnd toe 19 is marre at a dedicated guia, be hopes thi his coe tebottat inthe Frm of tls bok wil heep the larement pot onward REUTZER| jor Guilay (Pick Style) ‘Tho Kreutzer etudes have beenused by violinists as amusiealbasis for technique for 190 year ‘The 2nd etude is familiar to most people, and the value of the entire set of etudes is known to al string players. AS an aid to the study of the guitar they have been relatively unexplored, Uhave com~ biled the mosi useful of the eludes for serious atudents of the guitar in the hope they will become a bible" for the guitarist as they have been for the violinist Each of these exercises, aside {rom it'@ musical value, serves definite purpose in the de~ -selopment of technique of both hans ‘The use of a metronome is recommended with speed setting optional slow at first, the gradually faster as the etudes become more familiar Aller Hanton PICKING Lessons [,11,1V, V1, VIII, and IX, have picking indications at the top of the page, preceding th etude. They’ (the Indeated piekings) are to be used for the entire etude; where more than one picking ts indicated, this means that the entire etude should be picked each way. ‘Lessons ft, V, VIL, and X, have the pickings marked for each note. Any conventional way of holding the pick may be used: but great care must be given to keeping the plek at a right angle to the plane of the strings at all times, Note: Down Stroke #7 Up Stroke #V FINGERING ‘The otudes may be played with many fingerings, but the marked fingerings have been found to be the most logical, and more important, will give the student a sound set of fingering patterns which {in time will add greatly to teehaleal facility and reading ability The markings are lo be observed thus: the number above each note is the finger to be used to play exch note with the left hand. Counting from the thumb, the index finger fs finger 1, the middle finger is 2, the ring finger is 3, the little finger 4. The mmber in the cizele under the stat tells you the position ail the notes from that point on are to be played in; until an- other “circled number" appears. Then you shift position and stay there until the next position number occurs. Sometimes the position remains the same, sometimes the position will change rapidly, but by following the cireled numbers carefully each position shift will happen automatically {use twomethods of fingering notation through the efudes, The first {s a normal hand formation ‘whieh I shall refer to as "the closed hand". In using the closed hand the first finger can play any of the notes occuring on the fret in which positian you are at the time, ‘The second finger can play any of the notes occurring on the next higher fret. The third finger can play any of the notes occurring on the next fret higher than the second finger. The fourth finger can play any of the notes vecurring on the next fret higher than the third finger. Example : on the second or Bstring in 5th Position ‘The second method of fingering is what I shall refer to as "the open snd’. In using the open hand, the first finger ean play any of the notes oceurring onthe fret in which position you are at that time, However, we now skip a fret and reach with the second finger to play the notes which occur2 {frets higher than the position fret, The third finger can then play all the notes occurring on the next fret higher than the second finger; the fourth finger can play all the notes oceurring on the next ret higher than the third finger. — Example: on the second or B string 6 By comparing example 1 to example 2—notice that closed hand as in example 1 covers the space of 4 frets; open hand as in example 2 covers the space of § frets Whenever it becomes necessary ta use the "open hand" in the etudes, the symbol ——~——~ will appear over the group of notes on which the hand is to take a wide spread. ‘The hand will then re~ main spread wide until the symbol =——~~ over a group of notes indicates the hand to return to normal. re Example: on Bor second string. All of the etudes start with the "closed hand”, The fingerboard chart on page 1 is to be used to improve knowledge of note names and should bbe referred to in studying the etudes whenever there is any doubt as ta the position of a note, 4 LESSON I KREUTZER ETUDE No.2 All the left hand fingerings of this lesson are based on scale forms. Any difficulty should be worked out lowly; a good plan is to take the difficult bars and play them as separate exercises until they become familiar. ‘This lesson will develop flexibility of the right hand. First, by developing a con- trolled downstroke; then by developing a feeling for alternate and cross picking. ‘Do sot attempt to usethe third recommended picking (all upstrokes) until the etude ‘has been thoroughly learned. This is adevice designed ta strengthen the natural weakness: of the upstroke, Ist Picking AAP AAA 2nd Picking Srd Picking RVAVAVAVAV A VVVVVV VV VV YVY VY # Allegro moderato Siaeawa reer aee te dei ed era aroreeers saad tae setee cera raed pideararate aenaiesa sae (© - Copyrighe 1961 by HENRY ADLER, INC, 138 Wea 40th Seoet, Now York 38. International Copyright Secured Made io U.S.A, A gts Nerervsd a2 es ee eed Pk ed 8 2d Te LESSON II KREUTZER ETUDE No.3 ‘The left hand fingerings of this lesson are designed to free the left arm from de- pendency on position playing. They are based on scales in thirds and small arpeggios. In most cases the shifts are short, but where it is necessary to change from one setof strings to another, long shifes are mandatory. ‘The picking for this etude {8 first; downstrokes throughout, and second; alternate picking throughout, Any difficulty should be worked out slowly, Play the difficult barsas separate ex- ercises until they become familiar. Jat Picking AA AAA AAA 2nd Picking AVAYA VAY Vay £ = Allegro moderato Pagniaaiiietinaga ete @ @ ® @ & ® @ ® pete toertedoetoor rataarario it tea = —_ + See SS ooo 86 @ @o00 @ @ @ braeiootiane sees tarariare erates . 5 ®@@ ® @ aiaeteortorareed - © ®@ ® aetetoartarair2aad # ef “200 ©8686 a eee eras 1) Peay aa ia 1a 4d 1 es peraravatiairers Tianieareaaiaiia 4 LESSON III KREUTZER ETUDE No.4 ‘The greatest value to be derived from this lesson is the timing of sixteenth-notes in relation to eighth-note triplets, The use of a metronome is of great tmportance 10 this timing. Start with a slow tempo at first, and gradually increase the speed The left hand markings are based on seales and arpeggios All pickings are marked, ‘These pickings have been found to develop the maximum of speed, with special attention given to the sound of phrasing Any difficulty should be worked out slowly. Play the difficult bars as separate ex- ereises until they become familiar. fs yoo Note: Groups of three 8th notes are triplets. nmonynyn nmonynyn mo onyny z @beagd ‘ tae t oe @ wal “oa 2 a real a “2 a ea a “a a “a rat a wa ce cs ce c- a cs c- re c- cs ro co c ce 10 ca ce re LESSON IV KREUTZER ETUDE No.5 The left hand markings of this lesson are based on scales, mainly of the keys of E>, Be, and Ab, ae ‘The picking is a study inthe use of Ty Ay in the playing of triplets. This gives u natural "lilt" tothe phrasing. Because of the musical content of this etude the piek, in many places, has to skip to a. lower string on an upstroke. Alter some practise, accuracy will be sebieved Any difficulty should be Worked out slowly. Play the difficult bars as separate ex- excises until they become familiar. Note: Groups of three 8th notes are triplets. Picking AYRAAVAR YAY als & hibgrsmsisel jugs os SSE ee @@ 2 LESSON V KREUTZER ETUDE No.6 In this lesson, the Left hand plays arpeggios and scales. The marked fingerings are based on the logical sequence of notes. There are many distinct musical patterns throughout this lesson. A musical analysis af each such section can be of great help to the understanding of the musical content of this etude . ‘The pickings are marked for each nate and should be observed carefully, Any difficulty should be worked out slowly. Play the difficult bars a3 separate ex~ ‘ereises until they become familiar Note: Groups of three Sih notes are triplets. 4 cs c- Ee cs ca ce c- re ce ced «| ce cH c ce cx aa re c- co = ce == cx = c ca ce ce co >a ce 6 LESSON VI KREUTZER ETUDE } mn this lesson, the Left hand markings are designed to aid in the development of un= ‘usual fingerings; and are actually based on arpeggios, for the most part, in octaves, The first picking will develop accuracy of the downstroke on skips of strings, and the second picking will develop accuraey and strength of the upstroke on both descending, and ascending skips of strings. Any difficulty should be worked aut slowly, Play the difficult bars as separate ex: eveises until they beeome familiar. Ist Picking 2nd Picking AO AAA RY AVAV AY TT) u eetore roan eaorar sa eaaned it LESSON VII KREUTZER ETUDE No.8 ‘A musical analysis of this etude is especially important in the study of this Iesson, for although the key signature ia E Major, {t goes through several other keys by means of accidentals, The left hand markings are designed to facilitate and co-ordinate the key relationships, ‘The pickings are marked to develop a fluency of arpoggio picking and therefore should be worked out carefully in relation to the left hand markings Due to the Length and great umber of notes, this etude should be learned in short sections, taking no more than four bars at a time, Any difficulty should be worked oat slowly. Play the difficult bars as separate ex- cereises until they become familiar mom ARy non ynvny eorrrg aa fadad = = = 20 ft ee 2 22 cn ce ce ce cs ce ce a ce ce c ce cdl ce fe = ee os a es - ee 2 = es ee te cs es. we +e 2®0®8 ae a co cy cle 23 LESSON VIII KREUTZER ETUDE No.9 ‘This lesaon is a strength builder for the left hand. Daily practise will improve Flexibility, at the same time building up the muscles required for individual finger strength Because of the length of the etude, it may be necessary to practice it in smaller sections at first until the entire lesson can be played without stopping. ‘Since many of the notes are repetitious, a minimum of markings are required, however, those which appear require close attention, The picking Is alternate (MY MY ) throughout. Any difficulty should be worked out slowly, Play the difficult bars as separate ex- ses until they become familiar. Alternate picking (My My) throughout \Allegro moderato aang Tees Tera taoe 14 TUG ae oe TTT tase rane 26 LESSON 1X KREUTZER ETUDE No.9 ‘This lesson is the final section of Etude 9, and is a strongthbuilderfor the fingers the left hand. ‘The picking is alternate (Ry my ) throughout, It is recommended that leason VIII bé studied first before beginning a study of this lesson. Any difficulty should be worked out slowly, Play the difficult bars as separate ex- ereises until they become familiar: Alternate picking (my My ) teroughout. Moderato Sas an ao agra oa ee 2 {awa = =) 28 fe Se fetetetet - pee tt SSS — A @ ——oo oo 29 LESSON X KREUTZER ETUDE No. 10 ‘This isa study in arpeggios; which, when worked out as marked, will serve as a means for developing the upstroke crossing of strings so important for executing rapidly descending arpeggio passages. This is combined with other related pickings, fur the purpose of achieving eom- plete co-ordination of the right hand. ‘Any difficulty should be worked out slowly. Play the difficult bars as separate ex- ereises until they become familiar. a “a o< aa ea ea oo -a “a oa “a a wa “a eal wa “a ea “a a “a eo ea “a a ea “3

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