ú

€-
fr 6t-
a
fr
rORS for guitar
fr.
fr
#
#
# NMWPIA
rt
€-
#
fr
bWW§]
€-
fr
4
fr
f4
fr
€,
fr rcúz
F
#
#
#
#
#
é
é
é
é
é
é
é
P
fl
é
é
é
é
P
P
é
P
e
tP
P
P
P
F
F
+r
t-
Y EBBI]E CRACKNEII
F
F
t
lr
h
h EI*IJOY PLAYINTG THE GUITAR
h
l,f BOOK 2
1,.
¡,f Quick Reference
L.
L
t
use this page to check notes, time signatures etc., that have been covered in
Ettjoy Playins the Guiwr Booh l.
t
L. I.[atural ]r{otes
t f¡et
number o o:zsoz
L.
t
t @...................: @---....-',¡
L.
t Accidentals
t
L.
t
L.
b
L.
á Time Signatures Terms and Signs
t-
t á : Po* crotchet beats to a bar ./ = loud mf : moderatelY loud
L.
l) fl :mto crotchet beats to a bar
nW = moderately soft
-p : soft Ep : very soft
l-
? E : t* crorchet beats to abar
rall. : getting Slower Adagio : slow

n
L. ,a Andante : walking pace
I : tO quaverbeats to abar
f-
l-
Allegro = fasr and lively

ts Keys used in Book I

l-
t-ta
{
)
)
)
-
)
)
)
)
)
)
- @ Oxfoqd Universit¡i Press 1990 printed in Great Britain
- o)GoRE UNIVERSITY PREss*rqlsrc DErARTMENT, cREAT cLARENDoN STREET, oxFóRD óÍz onp
) Photocopying this copvrieht maiéñat
- is it l.póÁi
-
)
{
)
)
 ü
f
lf
J
2 f
Introducing Semiquavers J
J
C
This note with two tails:is called a semiquaver. C
It is worth hatf a quaver (J) * a quarrer of a crotche, (rl ) 7
'§7hen
written in groups of two or more the tails are usually ioined up ... ?
C
Exercise I !
C
C
;
C
Exercise 2
Count I 123
c
Í
G
C
¡ú
¡r

w
F
G
;
e
2 Two crotchet ar
4 beas in a bar. ;
Drunken Sailor ts
m i mi m i mj ,t-i English traditional 7
.r
tr
F
tr
é
U
U
Aria F
Duet
Telemann t,
(1681 - t767) e,
?
a,
a,
l,
l,
.r
U
tr
F
U
é
¡,
U
U
tr
t'
y
 I
Dance of the Fisherrnen

Debbie Cracknell

;É ireleat P )

v
rnlt (repeat f )
-t>
t' t('
== -]f
/

r
,>e
l7rl I
rf

Rocking Carol
Czech medirio¡.al

* Tranquillo
= calmly, gently
- rit. hold back
=
 J
C
J
t
4
e
In this early dance tune by Tylman C
Susato use a ponticello (ponti.) effect at -
the repeats. This is produced by moving e
the right hand nearer the bridge. For a -
simpler version, play it as a duet, with a Ú
melody line and a bass üne, G
e
Ronde G
Susato c
(l6th-century) e
I
e
e
I
e
I
ú
é
é
C
ú
e
G
a
,)+ a
l-l é
é
This solo is one of many pieces -
F
composed by Matteo Carcassi,
an Italian composer and guitarist. Allegretto ;
Carcassi ú
(17e2-t853)
-
é
é
IF
f (reput,rnp) é
-
é
é
é
é
U
ú
é
I

* cresc, : getting gradually louder

_r' I
é
ú
é
é
é
a
J
 o
Two New Accidentals
@ @

Second finger behind

second fret suing @ Firstfiager behind first fret string @

After practising the scale (remember the F* in the key signature applies to all F's, even F on
string @) try 'Gondola Waltz'. In 'Gondola §falz' bring out the melody in the bass and play
the chords quietly as an accompaniment.

Gondola Waltz
Debbie Cracknell

7 Ér 7

fr v
 t(
(
C
C
e
Boogie March e
e
¿
É
'l"l *ooerato* Debbie Cracknell C
G.l ¿
t
E
C
G.2 e
e
e
C
(
e
(
ea
at
e
e
C
€
l'
é
G
a
U
é
e
é
(
V
é
U
ar
G
v
U
U
It
v
v
!r
tu
é
é
* Moderato
(F
= at a moderate pace ¿
¿
;

I
;
 7

Romantic Memories
Trio Debbie Cracknell

G.1
a) ¡l ¡

Iol n ¡imrmr mami

L-:
-.F
-jpi rI.TT L l\¡¡
-
G"2
aO -

AA
G._1
- :ú 6 C'- E-:

+
f
 a
I
Í
e
e
Triplets f
C
C
Triplets are notes grouped in threes with the figure 3 against them which indicat es3 C
that there are three notes played in the time of two - i.e. triplet quavers C
are each worth one third of a crotchet.
fr7 C
c
C
C
Corrntl 2 34 1 e
C
e
c
c
Take note of the new key signature. In J
F maior all the B's are played flat. c
Remember, Bb is found on string @ J
F major scale in triplets fret 3. G
Count | 2 3
G
J
G
C
*
- continue in triplets I
G
Trickyrhythm scale G
Count L 2 3 C
G
G
G
G
A Tango is a darice e
from South America * ,- G
which uses rhe rhythm ) il ) J Tango in Thirds G
G
G
G
(F
v
U
G
U
U
U
U
U
c
G
G
U
G
U
j
U
 I
One new ^
(9'

Accidental
In 'Autumn Mists'the arpeggio
accompaniment is written in triplets.
repeat tasto : move the right hand
nearer the fretboard to produce
a softer, more mellow tone. First firger behind fust fret string @

Autumn Mists
Larghetto (fairly slow) Debbie Cracknell

a' rn¡f rePeat tasto

nPt=i mp i mp i m

prmprmprm

¿
p
 Test

Continue writing the crotchet beat above the notes in these two passages:

Explain the following rerms and signs:

moderato

Larghetto
o
4 .......
Tasto
J
.87
atempo

G
Add the correcr accidental in the (F
key signature for the scale of Fmaior:
?
U
G
U
e
é
é
é
This scale is calbd?
é
(
é
é
é
I
lI
)
t
'ttt
I 11
!
t The Second Position
lt
I
a Wh€n p¡¿yr¡g in the second position (indicated by II
a ¿hoxe úerousic) move your hand up thefingerboard
ll
a firger I plaS's notes on the 2nd fret
a r:ger 2 plays notes on the 3rd fret
!' fingm 3 plays notes on the 4th fret
t fisg€tr 4 plays Dotes on the 5th fret
|'
t
I
I
I
ll
Make sure your thumb moves up the back of the
a neck until it is level with the third fret. Do not 'leave
a it behind'.
t
a
a
a
a
a Notes on the fust string in second,position
a finger 4
a :Fü
a
a =Q
a :Gfi
I
I =f,
a Twa new notes! G$ and A.
a
a
a
a
a
a Exercise in second position
a
a
a
a
a
a
a
a
a
a
a
a
a
a
a
 In'Hoe-Down', Guitar I is played in second position. Note the new key signature - both F
and C are sharp throughout the piece. This new key is called D maior.

Hoe-Down
Debbie Cracknell

G.1

G.2

I
G
ú
U
G
G
v
v
U
@ F
Notes on the second string in second position ¡,
V
r1
-c# U
rg :p é
é
a
I :Df, e
4 é
-E New note Dfi.
ts
é
aa
lr
al
t
?)
ts
P
?
e Exercise in D major

?
?
?
?
?
?
?,
b
?
I

?
?
?
?
?
?
?
2
t The Sinkapace Galliard
?
I

n Melody from
'tüfilliam Ballet's Lute Book' (1 580)
?
I

á
l)
l-a
La
,.
?
?
p repefit Potrtr.
?
7
+a @
á Notes on the third suing in second position
á
1
=f,
finger"' ' ,

-á
á
2 : A* (or Bb)
á I :B
)
J f -C
) Note: Afi and Bb are found on the same fret on the guitar.
J
-t Melody
)
á
)
)
)
)
¿
)
)
 JC
C
f
C
The Minstrels e
Allegretto (fairly fast) . Debbie Cracknell 7
fi7 I
C
I
J
C
C
Í
ú
C
ú
Í
C
Í
G
* If üe E was taken here (bar
6 of 'The Minstrels') with a 4th finger on the 2nd string, there
Í
would be a hiccup as you jumped to the 4th finger A on the first string, therefore take an open I
E in this ba¡. There will be many occasions when you have to decide whether to use an open E G
or a fingered E. Listen to the difference in sound between both E's. §l¡hich has a warmer tone? C
C
G
ú
Rondo Carutli G
Allegretto
(r770- 1841) ú
.L G
.b G
II. .
-,,\ I

rr rr G
I
c
c
G
U
G
G
U
U

rr
G
rr rr U
G
G
G
;

* The third finger for

rr r'r
G here gives a smoother change from the chord.
l-'
G
G
J
c
G
G
J
U
 16

This new key of A maior has three notes sharp€nd in the key signature.
F, C, and G are all sharp.

Scale of A major
II

Lándler
(A German Dance)

,t'-l 9.1 I

cnf (repatP)

+.
ld,
c:nf lrepeat F) |

)r)
r *,
I

cnf (repeat p)
1

.JI

(lasttime) ff.¡É

Practise t]ris exercise

before trying 'Sweet Potato'.
 ú
J
li
16
C
J
In'Sweet Potato'practise clapping the rhyttrms first before playing the piece. Although written J
as asolo, this piece could be played by dividing the different 'voices' between two or three J
guitars. J
i - ^dot above or below a note means the note is to be played staccato (a short, detached ú
note): damp the suing with the fingers or thumb immediately after playing. J
J
J
C
C
Sweet Potato J
-.$

\-- --J i'5 c

C
J
C
Debbie Cracknell Í
Í
I
F
F
Í
f
C
I
?irt rl
I
7
ll
l!,
Y
F
v.' l ['' t
€
= I
F
ts
t,
F
É
tl
tr
F
tl
ta
F
É
É
rt
é
rt
r r7r I rt
é
é
€
Y
 tv
Moving from lst to 2nd Position

Gaelic Melody Debbie Cracknell

Debbie Cracknell
Tranquillo
G.1

G.2

il
r IIlSmamlIIr t

v-t ttH É nw
P-- ponti.
-E
A
- -

P- ponti5; - -. -.. -------- i ttW

 C
C
C
18 C
C
C
C
cc
I
e
C
C
c
c
C
In Corfu Town c
C
c
C
Debbie Cracknell
c
C
G
e
e
C
c
G
ú
I
ú
C
c
G
G
e
e
e
G
e
ú
C
v
v
G
v
tF
v
ú
tF
c
e
G
é
ú
(F
U
U
 19

Allegro
Clementi
(t7s2-t832)

+-
m +
++

*
§
: Th..e quaver beats in a ba¡ " I: semiquaverrest
 C
C
2.O C
Two New Bass Accidentals C
C
c
@ @
e
e
C
C
€
é
L_LL_L_jJ
I

G#
I
C# e
Fourth finger behind fourth frersuing @ Fourth finger behind fourth fret string @
c
C
C
Ragtime C
C
Debbie Cracknell C
C
G.l C
é
É
e
G.2
e
il
r 7
fl4 e
e
1-ií t
lF
b. 9 1o €
é
é
e
e
é
e
e
é
e
é
é
€
e
7 17 ffrr é
€
€
é
é
e
e
e
€
e
e
e
e
e
é
 =7
II,

Test

Finger the follorving passage in secondposition:

In what keys are the following passages?

 Í
(
C
22 C
(
€
S1urs c
c
C
c
A slur is a method of connecting two
c
different notes together by playing the
second note with the left hand to c
produce a smooth ioin. c
C
C
IJpward Slurs C
C
§íhen slurring to a higher note, the second note is played by using the left hand finger as a c
hammer and hitting the string just behind the fret with the tip of the finger. c
c
C
Play B with the right hand and then play C using the left hand finger as a hammel C
G
€
c
G
lJow try C to D keeping C down as you hit D: c
C
G
G
G
Exercises c
1.
e
I
G
G
C
e
c
c
G
G
ú
ú
lF
ú
C
ú
G
ú
G
I
G
ú
ú
ú
G
G
1ú
 28

Danish Round
Play as a round. The second guitar starts
from the beginning when the first guitar
reaches the star.

John Peel
English traditional

G.1

G.2

*C: cornrnontime - ,.
anoüer way of writing Shepherd's,Song
ft
Debbie Cracknell
 J
C
C
C
C
Downward Slurs C
C
C
\ühen moving from one note to alower note, the left hand sounds the second note by pulling cc
sideways (not upwards) off the string with the very tip of the finger. Keep the left hand square G
with the neck of the guitar; do not twist the hand away from the neck. C
e
C
cCC
C
C
C
C
cc
€
C
c
ccc
C
C
e
Exercise I
c
c
G
G
c
G
e
€
§flhen moving to another fingered note, hold the
second note very firmly to make it sound clearly.
e
G
é
e
I
Exercise 2 I
I
G
G
é
€
I
c
c
G
I
ú
ú
G
 2ó

Sor
(1778- 1839)

* Bf fingered as
'r
Dfl - string @ fret I

l"p = Twelve quaver

Ü Jam on the Freeway Debbie C¡acknell
beats in a bar

*D.C. al
$

* D.C. al S: r.p""t to the sign and then play the Coda (Italian for tail)
* nat. play normally, i.e. not ponticello
=
 (
C
C
28 (
C
The Dotted Quaver C
e
The dotted quaver e
N (
d.t works in the same way as ttre dotted crotchet. The dot makes the note
half as long again: üe dotted quaver is worü three quarters of a crotchet. It is often followed by é
a semiquaver to make up one crotchet beat
--: e
é
¿. ¿ É
e
Drone Tune (
Debbie Cracknell e
e
e
(
e
e
€
é
€
é
é
e
e
Pastime with Good Company e
c
l6th-century É
é
€
é
é
ft"r" ro"f;. e
e
é
é
7l
| ry
é
r €
e
€
é
é
€
T €
€
Some say that Henry VIII wrote the €
song 'Pastime with Good Company'. é
Henry was a musician, and the song e
certainly became a favourite at court. I
e
€
é
é
é
é
t
 27

Moderato

A Trio using dotted quavers

Diabelli
u
1

G.l
a) lffl t-E t --
f ?)
(repeat
A)l +{ "I¡+1 32, 3 2, 3l-!¡Fl
G.2
d f Geoeat i )'

G.3

f (reneat p)

mf (repeatponti.)

nf (repeatponti.)

mf (repeatponti.)

f (nat.)
 t
C
C
28 e
C
Shaker Melody e
C
e
Traditional C
Traditional
tl
(
(
É
(
C
(
(

r C
e
e
(
C
(
é
e
I
C
(
c
É
C
G
G
é
é
'St Pauick's Day'uses
C
the dotted quaver with a
C
G
§ *. signature.
St Patrick's Day G
Irish traditional C
Count I 2&3 4 5 6 C
(
ú
é
ú
ú
ú
ú
G
ú
G
ú
C
G
J
J
J
J
tF
 'Los Gitanos' is not as
difficult as it looks if these
chords are practised first.
Dm

Los Gitanos
Debbie Cracknell
a tempo

a tempo

a tempo

ad üb. : take these passages in a free and easy manner - do not be too suict
about keeping to the exact time.
i
,l
Ima ^ = strum these chords with üe R.H. fingers
---s--- in the direction of the arrows.
ras. (rasgueado) : strum across the srings with the backs of the R.H. fingers one after the
other, beginning with the little finger (e): e - a - m - i.
 C
é
e
30 é
rf
Sliding to the Third Position é
(
The slide from the first to third position is often found in music which needs é
AA rf
D €#
-rz -.1-
B úSÉ
an<i played together as a chorci, or arpeggio. É
A ¿, III É
The B can be found on string @ fret 4,
and this enabies the D to be played wilh
É
the B as a chord, or rapidly alternating É
with it in arpeggio style. 7
É
é
É
Exercises for sliding to third position é
é
1. I rrl I €
é
€
7
€
é
é
C
e
U
U
é
é
rt
Danza v
Debbie Cracknell É
é
€
é
f ñm !ñ-p m etu. €
J
F
é
é
v
é
7
7
f (repeat p) rl
rl
é
é
é
rt
rl
It
v
U
Y
t
 31

Andante
Debbie Cracknell

'I
a) I

z 1 <1-z
Atl FFFFFI t-r¡- FFFFI- -rl--n

Dionisio Aguado was a Spanish guitarist

and composer who was a friend of
Fernando Sor (also Spanish) who \ü7altz
composed the §7altz on page 25. Aguado
(1784- 184e)

* take this G on string @ fret 5

 C
¿
¿
a2
e
The Fifth Position ¿
e
The-fifth position is a very common position on üe guitar and many pieces require this move ¿
up
üe fingerboard. ¿
é
§7hen playing in the ñfth posiúon (indicated by V €
above tlle music) move your hand up the fingerboard,
I
so üat - €
finger 1 plays all the notes on rhe 5th fret
fing.r 2 plays all the nores on the 6th
É
fret
finger 3 plays all the notes on the 7th fret
É
finger 4 plays alt the notes on the 8th fret é
é
€
€
€
€
Notes on the first string in fifth position €
€
I
I
I
=fi €
=Bb €
é
=B! C
-C J
é
é
Exercise I I
€
€
€
é
€
é
v
C
€
Exercise 2 J
ll lTI-r ITr]t ) )J) JIT]; J
a,
€
é
J
é
J )J J
é
é
{> é
é
I
I
t
J
Moving from position I to position V

A Folly
Debbie Cracknell

',A
r rr rr
1f 3l
¿r. .f¿ül II
¿.

+.
I

Duet version
rrr'
November
v3

G.1

G.2

anf,
A)t
{fr
f
lll'11lre ffi1ffi a=f,

V
 C
e
C
g4 e
In this more difficult solo version of e
'November', note the change to a
triplet quaver rhythm.
e
November é
Debbie Cracknell é
¿
é
é
e
É
€
é
€
é
€
€
é
€
€
É
é
I
€
€

* This B can
be taken on string @ fret 7
I 3r@ Le
é
(
(
(
J
@ É
€
€
Notes on the second string in fifth position
finger €
, €
€
ú
é
)1 =f, €
t2 =p €
I
¡3 :F$ I
)4 :§ é
I
G
é
Scale study using only 'natural'notes (no sharps or flats) ú
ú
o4
c
é
é
G
;
é
I
I
I
 35
Chorale
Debbie Cracknell

G.1

G.2

Notes on the third suing in fifrh position

finger
1 2 B ,4

1
:Q
2
=Cfl
B _D
,4 :Dü

Finger aerobics!
After repeating each exercise two or üree times try themon different strings.
Hold fingers down!
 e
€
€
86 é
€
Scale of C maior in 5th position €
€
€
€
€
€
€
Practise the C major scale before trying 'Jason's Jig'. c
G
C
Debbie Cracknell €
G
€
€
c
€
€
€
é
G
G
G
G
- nine quaver in a bar
a,
B=
beats
€
a
€
Scale exercise in F major; Bb in the key signature
€
é
€
G
c
€
The following three pieces are in the key
a
of F major. Practise the scale exercise aa
first to become used to the Bb. €
O
.A
Cockles and Mussels J
f,
Irish traditional a
tA
Ja
I
é
O
é
ü
é
é
J
I
-a
 3V
Plaisir D'Amour
French traditional

§7hen the Saints come rnarching in

 €
é
€
38 é
e
In 'Tricky Tango', guitar I is taken in the frfth position. This piece is in the key of G major (
(note the Ff in the key signature). Practise guitars I & 2 together, and guitar 3 on its own €
before playing as an ensemble, as you will initielly find the triplet rhythm difficult to play with €
the dotted quaver rhythm in the bass. €
€
€
€
€
G
G
c
G
€
c
G
e
€
I
é
c
G
Tricky Tango c
€
U
I
O
e
I
e
€
G
c
ú
a
é
J
C
a,
é
é
é
J
é
é
aa
é
é
ú
O
O
é
J
-aa
 89
Oxford Blues
Debbie Cracknell

G.1
a) rtr rt
A tL-
G.2 4H

aJ

I t. l¡-. )t_ j \ra- ll ^.^ ü_

D.C. al $ Coda

suum with m and a

rapidly up and down
first 3 suings

Guitar 1: try improvising on repear, e.g.

 I
é
é
40 €
é
(
Test €
é
Finger the following passage infifthposition: é
V
?
I
I
IF
IF
É
É
G
Explain t he following: €
€
3 €
8 €
,"r. (
I 7
m €
é

l,A €
G
(
1 Howmany quavers in: ),
in: )
U
7
How many quavers 7
\ (¡,
Howrnany quavers in: ) tl
t-T J
é
How many semiquavers in: )
*wx How many semiquavers

Howmany semiquavers
in: )
in: )
é
€
€
é
aa
J
€
€
In what keys are the followingpassages? y
1>
a
!,
rF
aa
a4
€
é
a
a
é
J
a
J
 4t
The Barré
Sometimes it is necessary to stop two or more
strings at the same time with the index finger
flat across the fingerboard, and this is called
a BarÉ. Any number of strings from 2-5 is
referred to as a half barré and will be
indicated by the signl/zC or S. lce¡a is
the Spanish term for barré.) §(hen all six
strings are stopped by the index finger it is
known as a full barré and will be shown as C
above the stave.
The barré sign is usually followed by a roman
numeral to indicate the fret where it is to be
taken.
The diagram shows a three-string barré

The following four pieces use two- and

th¡ee-string barrés.
Aria
Y¡CIV .---.-..--.
Debbie Cracknell

G.1
-i

G.2
c1..--U

=t
=T- r
 C
é
I
42 é
é
An anonymous Elizabethan
Packington's Pound c
melody, originally written as
a solo for the lute.
e
I
arranged by Debbie Cracknell G
€
G
€
€
€
€
r c
€
I
e
C
c
€
= é
: €
: €
=a
T l' ú
G
I

€
I
I
é
é
F
= €
€
-l- ?
+
-
Tl
lr
e.
r é
€
ú
I
?
€
é
I
€
ú
V
F
é
e
Try different'colour' (ponti., tasto) or ?
a
a change in volume f , p ¿¿c. for the
e
repeats. €
€
é
é
€
é
€
J
é
 48
Boulevard Barré
Debbie Cracknell
r/zCIIl

Repeat the last line ad lib. and gradually fade away.

Now uy improvising with the halfbarré up and down the guitar fingerboard.

"&§-:e ,ft¿s.¡
@
:
6B ffi'M \¿
P
)
0
g0
 f
e
€
44 é
é
A Reflection (
é
é
€
é
é
I
G
é
G
G
€
€
é
c
G
é
í
I
€
G
€
I
lU
U
a
7
é
€
I
é
é
€
a,
J
J
é
y
molto rall. (getting much slower)
e
J
e
é
€
é
é
é
I
I
é
a
a
J
é
 46

Three Repertoiie Pieces

with Study NTotes

Ferdinando Carulli was an Italian guitarist and composer who wrote around 400 works for the
guitar, boü solos and ensemble pieces.
In this'§7altz, try to bring out the melody as indicated by the accent signs > . Hold the dotted
crotchets in'the bass for their full value of three guaver beats.

\Waltz
Ferdinando Carulli
a
(1770- 1841)
mlm

T.
I
>-
 (
é
e
46 é
e
Scarborough Fair e
e
é
Take this setting of the traditional folk-song 'scarborough Fair' at a steady pace. Be careful to é
hold all the ties and long notes for their full value; note that the C in bar 6 is taken on string @ é
fret 5.
tÉ
é
English traditional arr. D. Cracknell f
é
e
é
e
r@ e
€
e
é
€
é
f
é
G
€
€
é
a
é
4
€
é
é
e
I
+l+
t)l l? úr é
(
G
ú
I
J
€
é
a
a
é
1ú
G
r é
é
é
G
G
G
é
é
é
a
é
é
Francisco Tárrega was a Spanish guitarist and composer who was the founder of many of the
techniques in use today on the classical guitar, notably the raising of the left leg with a foorstool
to support the guitar, and üe development of the rest stroke.
Io thi! piece try to emphasise the notes on the first string to bring our rhe melody (a rest stroke
with finger a whilst p, i, ffi use free stroke is the most effective method - practise on open
strings first). Take care to hold on to the long bass notes for their full value.
A full barré is used in bar 13. Keep the finger as straight as possible and very near the fret.
Do not expect a good sound straight away - it will come with pracrice!

Tánega
(i8s2- teOe)

7
 f
e
e
48 Manuscript €
e
é
é
é
é
é
é
€
é
é
é
é
€
e
é
é
é
€
€
€
G
é
€
€
a,
a
é
a
€
a
€
é
€
é
€
aa
J
€
.a
e
a,
é
I
é
é
aa
é
é
G
J
€
Prlnt6d ln England by Cal¡gravtng Llmlted TheÚord Norfotk
ú
J
é
a
Practice Regisrer
 C
C
C
e
lxford Music for Guitar includes: e
e
.UTOR e
BOOKS é
é
)ebbie Cracknell é
Enjoy Playing the Guitar, books | &. 2 é
Enjoy Playing Guitar Solos É
Playing Guitars Together
Playing Guitars Together (Bass parts)
f
é
e
lEPERTOIRE
I
C
rhann Sebastian Bach, arr. Quine e
Bach for the Guitar é
Prelude, Fugue, and Allegro C
C
C.John Gaz-¡all é
A First Book of Guitar Solos é
É
:eorge Frideric llandel, arr. Quine É
Handel for the Guitar é
C
rr. Hector Quine C
Easy Modern Guitar Music, books 1 & 2 I
a
iuitar Styles!, ed. Michael Stimpson f
Bass (Alphonso Johnson) f
Classical É
Flamenco (Paco Peña)
G
Folk (fohn Renbourn)
Rock (Brian May)
é
C
I
é
G
G
C
C
(
a
J
J
G
J
G
)XJ'ORD tsBN 0- 19 -3559 ú
C
NIVERSITY PRESS
C
C
G
ww.ouP.com llliullffilruffi1 C
G
C
a
G