INSTITUT PENDIDIKAN GURU MALAYSIA KAMPUS ILMU KHAS

JALAN YAACOB LATIF, KUALA LUMPUR.

KERJA KURSUS PENDEK

ALAT MUZIK UTAMA GITAR V MZP3121G 1(0+1)

NAMA NO. KAD PENGENALAN KOD MATA PELAJARAN KUMPULAN

: SYAREEMEY ABDUL RAHMAN : 890705-02-5601 : MZP3121G1 : PISMP G 6.7

PENSYARAH PEMBIMBING: EN MAH KOK HENG EN ABDUL RAZAK ABDUL RAHMAN TARIKH SERAHAN : 22 JULAI 2011

Segovia's quest to elevate the guitar to a prominent position in the music world, began at the early age of four. His uncle used to sing songs to him and pretend to strum an imaginary guitar in his lap. Luckily for us, there was a luthier nearby and Segovia took an instant liking to the guitar. Although discouraged by his family (according to them he should play a "real" instrument), he continued to pursue his studies of the guitar. He set a goal for the guitar and himself early in life. It was, to bring Guitar studies to every university in the world, have the guitar played throughout the world, on every major stage, just as the piano and violin were, and lastly, to pass on his love of the guitar to generations to follow. He considered himself to be the messenger that would complete this impossible quest. He succeeded in all respects. Segovia gave his first concert in Spain at the age of sixteen, with his professional debut at the age of twenty in Madrid. His original program included transcriptions from Trrega, as well as his own transcriptions of Bach and others. Many so called "serious" musicians believed that Segovia would be laughed off of the stage, because the guitar could not play classical music. In fact, Segovia astounded the audience. The only problem he had, was that the guitar could not produce enough sound to fill the hall. Over the coming years, Segovia would perfect his technique and push luthiers to experiment with new woods and designs, that could increase the natural amplification of the guitar. With the advent of Nylon strings, the guitar could produce more consistent tones, while also being able to project the sound much farther. Segovia's quest lead him to America in 1928 for his first concert in New York. Again he overwhelmed the audience with his technique and musicianship, and converted more dissenters to the classical guitar. His rousing success in New York led to offers for more appearances in America and Europe, and a trip to the Orient in 1929. Segovia, and the classical guitar had arrived. As Segovia traveled the world, he and the guitar became more and more popular. Composers such as Heitor Villa-Lobos began to compose original pieces specifically for the guitar. With their dark and melancholy mixture of dissonance and cello-like phrasing, Villa-Lobos' compositions in particular, seemed to fit the guitar perfectly. Segovia had also begun to transpose the masterpieces for the guitar. In fact his transcription of Bach's Chaconne, has become one of the most famous and difficult pieces to master. His transcription makes the Chaconne seem as if Bach originally intended it to be played on the guitar instead of the violin. Segovia's repertoire was increasing, as was the guitar's. His goal was becoming a reality. All that was left was the third and final part of his mission... to pass on the legacy to a new generation.

Segovia had many students throughout his career. Among the more famous are Christopher Parkening, John Williams, Elliot Fisk and Oscar Ghiglia. These students, along with the many others, carry on Segovia's tradition, while at the same time expanding the classical guitar's presence, repertoire, and musical boundaries. Segovia not only taught students himself, he indirectly taught and influenced thousands and thousands of guitarists world wide. He is truly the father of the classical guitar.

Segovia Scales
Practice Schedule
The following chart will help you to organize daily practice of the "Segovia" scales. This chart is used by the students of Prof. Ronald C. Purcell at California State University, Northridge. The Segovia "Diatonic Major and Minor Scales" can be ordered from Guitar Solo Publications in San Francisco. The catalog number is CO 127 and the cost is only $4.50.

Segovia Scales Practice Schedule

Fingering Pattern I II III IV Mode Monday Tuesday Wednesday Thursday Friday Saturday Sunday Major minor Major minor C a G e D f# A e Db g# B e Eb f F# e C g Ab e D a Bb e Db f# G e

V VI VII VIII

Major minor Major minor

E b F c#

E bb F d#

E b F c

E bb F d

E b F c#

E bb F d#

E b F c

Suggested Right Hand Fingering:

These fingerings for the right hand come from the suggestion of Eliot Fisk. There are only eight left hand fingering patterns. Each pattern is practiced daily.Be sure to practice all the possible right hand two finger combinations. Do not neglect the right hand little finger "c"(chiquito). Use of the little finger will help balance the muscles of the right hand.Pick one leading pattern per day. Practice rest and free stroke. Right hand combinations:
Indice leading: Medio leading: Anular leading: Chiquito leading: Pulgar leading: im mi ai ci pi ia ma am cm pm ic mc ac ca pa ip mp ap cp pc

For all of us who love to play guitar or love guitar music, in part we owe this pleasure

toFernando Sor. We could say he is the father of guitar. Back in the beginning of the 19th century, guitar was an instrument that didnt have any attention from composers or performers. Theres no piece by Bach or Mozart or any of their contemporaries written originally for guitar! All the guitar works we have from the great composers are actually transcriptions from other instruments (violin, cello, lute, etc) that were compiled in the early or mid 20th century. In the times of Fernando Sor, guitar was new and there were many similar string instruments competing for popularity. 1779 marks the year when the oldest known guitar was made, by Gaetano Vinaccia from Italy. Sor was born in Barcelona, Spain and studied music at the Monastery of Montserrat Choir School. Upon his graduation, he wrote some successful operas and gained a reputation as a composer. The beginning of the 19th century is the period when Fernando Sor is known to adopt the

guitar. He continued his career as a composer, and became known as a guitar virtuoso. He performed in several places in Europe and brought popularity to the instrument. Starting in 1827, he moved to Paris and due to the new guitar popularity he was encouraged to write compositions for it. In 1830, one of his most important achievements was completed, the first book that documents guitar technique as a classical instrument: Methode Pour La Guitarre. Fernando Sors Impact on guitar music There are 3 fundamental areas that any instrument needs in order to survive: Performances: By developing his own guitar technique and performing all over Europe, he brought attention to the instrument. By contemporary accounts, he was considered a virtuoso. Without an outstanding performer like him, guitar wouldnt have caught any interest in the music circles. Guitar Technique:

Methode Pour La Guitarre, published in 1830, features all the imaginable details relevant to guitar technique: sitting and body posture, digitation, left and right hand techniques, string attacks, sounds, coordination and strength exercises, etc. By publishing this method, he set the foundations for aspiring guitar players to study the instrument. Throughout his life, he also published several Etudes (or Studies). This material features simple compositions for didactic purposes. They exploit focused aspects of guitar technique, such as arpeggios, scales, tremolo, etc. No instrument can survive without a documented technique and learning method. Fernando Sor made it possible for educators to continue his guitar legacy. Compositions: Fernando Sors guitar compositions were essential for encouraging aspiring musicians to study guitar. As in any instrument, musicians need to be able to have a repertoire. Fernando

Sor contributed to providing options and thus bringing guitar to concert halls. The classical repertoire that consists of transcriptions from other instruments always suffers from adaptation challenges. For instance, a violin has different preferred keys, ranges, harmonic and lyrical characteristics, etc. By being one of the first composers who wrote specifically for the guitar, he was able to exploit the characteristics of the instrument. When studying his work, you can notice it fits the guitar entirely, which is a way of showing to the public the full potential of the guitar.

In his method, Fernando Sor advocates a way to practice the notes along each string. In my Free eBook on learning the notes on the guitar (available on the free stuff page) I describe a way to learn the notes by memorizing the naturally occurring half steps and the notes on two strings and then relating those two strings to the rest of the fretboard.

Sors method offers a very good continuation of what I describe. First: Constructing Major Scales The cool thing about scales is that they always maintain the same relationship among the notes no matter what key. That is, to be a major scale the arrangement of whole and half-steps is always as I describe below. The numbers represent notes in a scale (called scale degrees). WS=whole-step or two frets. HS=half-step or 1 fret. 1 (WS) 2 (WS) 3 (HS) 4 (WS) 5 (WS) 6 (WS) 7 (HS) 8 (same notes as 1, octave higher) If you think in terms of of the C major scale: C (WS) D (WS) E (HS) F (WS) G (WS) A (WS) B (HS) C This arrangement of whole and half steps is the same for any major scale.

Sors Method Sor describes treating each open string first as the tonic of a Key area. Take the sixth string, E, for example. If its the first scale degree (the tonic), wed be in the key of E. Wed then run the E major scale up the sixth string: E F# G# A B C# D# E After finding all those notes on the sixth string, wed then treat the open E as the second scale degree. To find its tonic wed have to go down a whole step (remember the distance between the second scale degree and the first is a whole step). Wed be in the key of D, and wed run the D Major Scale from E to E.1 E F# G A B C# D E E can then be treated as the third scale degree of C major, and run the C major scale from E to E on the sixth string:

EFGABCDE Then it can be treated as the fourth Scale degree of B major, and so on until E is treated as every scale degree. Heres a PDF (Ex. 18) with all the combinations for each string.2 Why Practice This Way? This method could add some interesting variation to learning the notes. It also lets the student practice major scales in a more theoretical sense especially if the student, instead of looking at the PDF linked, figured out everything on her own. ________
1

Sor is describing running each of the modes

Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian using the open string as the tonic for each mode. He doesnt say this, however. Its probably

easier to think of it in terms of a major scale starting on different scale degrees (a way modes are commonly described anyway).
2

The PDF linked is taken from this version of Sors

method by Frank Mott Harrison. This translation is an english adaptation (and expansion) of the original English translation by A. Merrick. The exampled I pulled out, however is the same in both versions. Brian Jeffery dismisses the Harrison version as a work of small value (source). The A. Merrick translation is published by Tecla and Brian Jeffrey in facsimile. However, Dover (aff. link) offers the Merrick translation for much cheaper.