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8 Sep 2021 08:32:08 UTC
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Repetition on the Motives - Play Each Twice
As you become familiar with the note patterns, you could reduce the number of repetitions.
Let's play the complete introduction again, only on this pass, play each motive twice.
Let's play the complete introduction again, only on this pass, play each motive twice.
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PLAYI
CH8_L6_PG6
Let's try the staccato and the trill.
Play from the start of the second phrase on beat 1 of measure 5.
We'll stop on beat 2 of measure 6, on the note F Sharp Fourth Fret.
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CH7_L2_PG6
Now let's continue with E Second Fret and play through the display measure.
We'll start at the top of the display and play the quarter notes on the first pass.
Then we'll play the sixteenth notes in the center on the second pass.
Then we'll play the eighth notes on the final pass.
Even though the note durations are different, the tempo of the music will remain constant throughout the exercise.
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CH7_L2_PG11_B
Let's play through the section of the music where the fermata is written.
Because of the anacrusis, we'll start on beat number 4 of the third complete measure with the note B Open, and end on beat number 3 of the fourth complete measure on the note G Open.
With the fermata present, the count will be special.
Because of the pause in the meter, you should sing the count: 4 & ( 1 & 2 & 3 & ) 2 & 3 & ...
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PRACT
CH4_L2_PG5_B
Measure number 3 may be the simplest to play, as it only contains a whole note.
A whole note rings for four beats, so you strike this note on beat number 1 and let the note ring through beats 2, 3, and 4.
The note stops ringing when you reach beat number 1 in the next measure.
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LINE
CH5_L4_PG12
Now that you're warmed up, let's use Practice Utility 3, where you will play and sing the pitch letter names.
Try this on your own before listening to the recorded music.
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KEY O
CH9_L2_PG4_B
Our upcoming musical study is written in the key of F Major, so we'll warm-up by playing through the functional tones in the key.
We will play this in the usual way, starting on the tonic note F Third Fret.
From there, we will ascend by step to the dominant tone C First Fret, then descend past the tonic to the subdominant tone B Flat First Fret.
And we'll finish by ascending back to the tonic.
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PEGS
CH1_L1_PG4_A
Attached to the worm gear is the peg, which is made for your fingers to turn.
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FINGE
CH4_L3_PG6
Play measure number 2 again, and when you reach the second beat, use the third finger of your fretboard hand to dampen the string in first position over the fretboard.
When you set your third finger down to stop the string from vibrating, you do not need to press the string down to the fret.
In this case, just set your finger on the string to stop the vibration.
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CH5_L1_PG7
These practice measures contain familiar rhythms.
The symbols for picking direction and the numbers for counting with the meter are included as reminders while you play.
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