{"product_id":"classical-guitar-for-dummies-2nd-edition-9781119873020","title":"Classical Guitar For Dummies 2nd Edition","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eIntroduction 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAbout This Book 1\u003c\/p\u003e \u003cp\u003eFoolish Assumptions 3\u003c\/p\u003e \u003cp\u003eIcons Used in This Book 4\u003c\/p\u003e \u003cp\u003eBeyond This Book 4\u003c\/p\u003e \u003cp\u003eWhere to Go from Here 5\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 1: Getting to Know the Classical Guitar 7\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 1: An Acoustic Guitar in a League of Its Own 9\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDefining What a Classical Guitar Is (and Isn’t) 10\u003c\/p\u003e \u003cp\u003eKnowing What a Classical Guitar Looks Like 11\u003c\/p\u003e \u003cp\u003eRecognizing How a Classical Guitar Physically Differs from Its Peers 14\u003c\/p\u003e \u003cp\u003eBeyond Physique: Identifying Other Unique Attributes of Classical Guitar 17\u003c\/p\u003e \u003cp\u003ePlayer’s form and technique 17\u003c\/p\u003e \u003cp\u003eMusical knowledge and skills 19\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 2: Getting Ready to Play 21\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSituating Yourself 21\u003c\/p\u003e \u003cp\u003eTaking your seat 22\u003c\/p\u003e \u003cp\u003eSupporting the guitar: Leg position 23\u003c\/p\u003e \u003cp\u003eEmbracing the guitar: Arm support 24\u003c\/p\u003e \u003cp\u003ePlacing your hands correctly 25\u003c\/p\u003e \u003cp\u003eApproaching the Strings with Your Hands 28\u003c\/p\u003e \u003cp\u003eFretting the strings: Left-hand form 28\u003c\/p\u003e \u003cp\u003ePreparing to pluck: Right-hand form 29\u003c\/p\u003e \u003cp\u003eStroking the strings: Basic right-hand technique 32\u003c\/p\u003e \u003cp\u003eTuning Up 36\u003c\/p\u003e \u003cp\u003eAdjusting the string tension to raise or lower pitch 36\u003c\/p\u003e \u003cp\u003eTuning visually with an electronic tuner 37\u003c\/p\u003e \u003cp\u003eTuning by ear 38\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 3: Deciphering Music Notation and Tablature 43\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eKnowing the Ropes of Standard Music Notation 43\u003c\/p\u003e \u003cp\u003eThe composer’s canvas: The staff, clef, measures, and bar lines 44\u003c\/p\u003e \u003cp\u003ePitch: The highs and lows of music 45\u003c\/p\u003e \u003cp\u003eDuration: How long to hold a note, what determines rhythm, and so on 47\u003c\/p\u003e \u003cp\u003eExpression, articulation, and other symbols 50\u003c\/p\u003e \u003cp\u003eRelating the Notes on the Staff to the Fretboard 51\u003c\/p\u003e \u003cp\u003eRelishing the Usefulness of Guitar-Specific Notation 54\u003c\/p\u003e \u003cp\u003eFingering indications for the right and left hands 54\u003c\/p\u003e \u003cp\u003eStepping up to the barre 55\u003c\/p\u003e \u003cp\u003eTaking on tablature, a nice complement to standard notation 56\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 2: Starting to Play: The Basics 59\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 4: One Note at a Time: Playing Simple Melodies 61\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePracticing Notes on One String 62\u003c\/p\u003e \u003cp\u003eExercising your fingers: Strings 1, 2, and 3 63\u003c\/p\u003e \u003cp\u003eWorkin’ (mostly) the thumb: Strings 6, 5, and 4 68P\u003c\/p\u003e \u003cp\u003ePlaying across Three Strings 72\u003c\/p\u003e \u003cp\u003eFinger fun on the first three strings 72\u003c\/p\u003e \u003cp\u003eAll thumbs again on the three lower strings 74\u003c\/p\u003e \u003cp\u003eCruising through All Six Strings 76\u003c\/p\u003e \u003cp\u003eNo thumbs allowed! 76\u003c\/p\u003e \u003cp\u003eFingers and thumb, unite! 77\u003c\/p\u003e \u003cp\u003eFlowing through Melodic Pieces Using All Six Strings 79\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 5: Rolling the Notes of a Chord: Arpeggio Technique 83\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePlaying the Notes of an Arpeggio: The Basics 84\u003c\/p\u003e \u003cp\u003eWorking Your Way across the Strings: The Thumb and Fingers in Order 85\u003c\/p\u003e \u003cp\u003eKeeping it simple: One digit per string 85\u003c\/p\u003e \u003cp\u003eMoving the thumb around 87\u003c\/p\u003e \u003cp\u003eVarying Your Right-Hand Strokes 89\u003c\/p\u003e \u003cp\u003eChanging the finger order 90\u003c\/p\u003e \u003cp\u003eAlternating the thumb and fingers 90\u003c\/p\u003e \u003cp\u003eAdding Harmony to Select Notes 93\u003c\/p\u003e \u003cp\u003eFeeling the pinch with your thumb and fingers 93\u003c\/p\u003e \u003cp\u003eDoubling up two fingers at once 95\u003c\/p\u003e \u003cp\u003ePlaying Pieces with Arpeggios 96\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 6: Practicing Scales in First and Second Position 101\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroducing Scales, the Necessary Evils 101\u003c\/p\u003e \u003cp\u003eWhy scales are important 102\u003c\/p\u003e \u003cp\u003eHow you name them: Applying key signatures 103\u003c\/p\u003e \u003cp\u003eWhere they start and end: A primer on positions 106\u003c\/p\u003e \u003cp\u003ePlaying Major Scales in 1st Position 108\u003c\/p\u003e \u003cp\u003eThe one-octave C major scale 109\u003c\/p\u003e \u003cp\u003eThe two-octave G major scale 110\u003c\/p\u003e \u003cp\u003eThe two-octave F major scale 111\u003c\/p\u003e \u003cp\u003eThe two-octave E major scale 111\u003c\/p\u003e \u003cp\u003eThe two-octave A♭ major scale 112\u003c\/p\u003e \u003cp\u003ePlaying Minor Scales in 1st Position 112\u003c\/p\u003e \u003cp\u003eThe one-octave A minor scale 113\u003c\/p\u003e \u003cp\u003eThe two-octave E minor scale 113\u003c\/p\u003e \u003cp\u003eThe two-octave F minor scale 114\u003c\/p\u003e \u003cp\u003ePlaying Scales in 2nd Position 115\u003c\/p\u003e \u003cp\u003eThe D major scale in 2nd position using open strings 115\u003c\/p\u003e \u003cp\u003eThe D major scale in 2nd position using all fretted notes 116\u003c\/p\u003e \u003cp\u003eThe G major scale in 2nd position using all fretted notes 117\u003c\/p\u003e \u003cp\u003eThe B minor scale in 2nd position using all fretted notes 117\u003c\/p\u003e \u003cp\u003eApplying Scales in Simple Pieces 118\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 7: Exploring Musical Textures 123\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCoordinating Contrapuntal Music: Layered Melodies 124\u003c\/p\u003e \u003cp\u003ePlaying two melodies in sync rhythmically 125\u003c\/p\u003e \u003cp\u003eOpposing forces: Separating the thumb and fingers rhythmically 125\u003c\/p\u003e \u003cp\u003eThickening the upper part by adding double-stops 127\u003c\/p\u003e \u003cp\u003eMelody and Accompaniment: Using All Your Fingers 128\u003c\/p\u003e \u003cp\u003eMatching rhythm between accompaniment and melody 129\u003c\/p\u003e \u003cp\u003eGetting creative with the flow: Two parts, two rhythms 130\u003c\/p\u003e \u003cp\u003ePlaying Easy Pieces in Different Textural Styles 131\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 3: Improving Your Technique 137\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 8: Flat-Fingered Fretting with Barres 139\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDiscovering How to Play Barres 139\u003c\/p\u003e \u003cp\u003eHalf barre 140\u003c\/p\u003e \u003cp\u003eFull barre 141\u003c\/p\u003e \u003cp\u003ePracticing Barres in Musical Context 142\u003c\/p\u003e \u003cp\u003eHalf barre 142\u003c\/p\u003e \u003cp\u003eFull barre 143\u003c\/p\u003e \u003cp\u003ePlaying Pieces with Barres 144\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 9: Getting a Smooth Sound with Slurs and Trills 149\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eConnecting Your Notes with Slurs 149\u003c\/p\u003e \u003cp\u003eHammering and pulling: Exploring slurs 150\u003c\/p\u003e \u003cp\u003eSlurring in the context of a larger musical phrase 153\u003c\/p\u003e \u003cp\u003eFluttering a Note with a Trill 155\u003c\/p\u003e \u003cp\u003ePlaying trills on their own 155\u003c\/p\u003e \u003cp\u003ePracticing trills in context 157\u003c\/p\u003e \u003cp\u003ePlaying Pieces Using Slurs and Trills 158\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 10: Coloring Your Sound with Tone-Production Techniques 161\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eCreating Tones That Ring like Bells: Harmonics 162\u003c\/p\u003e \u003cp\u003ePlaying harmonics 162\u003c\/p\u003e \u003cp\u003ePracticing harmonics in context 163\u003c\/p\u003e \u003cp\u003eVarying the Tone with Vibrato 165\u003c\/p\u003e \u003cp\u003ePlaying vibrato 165\u003c\/p\u003e \u003cp\u003ePracticing vibrato in context 166\u003c\/p\u003e \u003cp\u003eBrightening or Darkening Your Sound by Changing Timbre 167\u003c\/p\u003e \u003cp\u003eImplementing tonal changes 167\u003c\/p\u003e \u003cp\u003ePracticing changing tone in context 169\u003c\/p\u003e \u003cp\u003eTremolo: The Classical Guitar Machine Gun of Sorts 170\u003c\/p\u003e \u003cp\u003ePlaying tremolo 170\u003c\/p\u003e \u003cp\u003ePracticing tremolo in context 171\u003c\/p\u003e \u003cp\u003ePlaying Pieces Using Tone-Production Techniques 173\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 11: Scaling the Musical Ladder beyond Second Position 177\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroducing Scales and Skills in This Chapter 178\u003c\/p\u003e \u003cp\u003eGetting to know the higher positions 178\u003c\/p\u003e \u003cp\u003eStrengthening your technical skill with practice variations 179\u003c\/p\u003e \u003cp\u003ePlaying Scales That Stay in 5th Position 180\u003c\/p\u003e \u003cp\u003eThe F major scale 181\u003c\/p\u003e \u003cp\u003eThe B♭ major scale 183\u003c\/p\u003e \u003cp\u003eThe D minor scale 183\u003c\/p\u003e \u003cp\u003ePlaying Scales That Stay in 9th Position 184\u003c\/p\u003e \u003cp\u003eThe A major scale 184\u003c\/p\u003e \u003cp\u003eThe D major scale 185\u003c\/p\u003e \u003cp\u003eThe F♯ minor scale 186\u003c\/p\u003e \u003cp\u003ePlaying Scales That Require Shifting Positions 186\u003c\/p\u003e \u003cp\u003eThe E major scale — one position shift 187\u003c\/p\u003e \u003cp\u003eThe A♭ major scale — two position shifts 187\u003c\/p\u003e \u003cp\u003eThe C♯ minor scale — one position shift 189\u003c\/p\u003e \u003cp\u003eThe G♯ minor scale — two position shifts 189\u003c\/p\u003e \u003cp\u003ePlaying Some Pieces Using Scales Up the Neck 190\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 12: Combining Arpeggios and Melody 195\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGrasping the Combination in Context 196\u003c\/p\u003e \u003cp\u003eDowntown: Melody in the Bass 197\u003c\/p\u003e \u003cp\u003ePlaying a melody within arpeggios in the bass 198\u003c\/p\u003e \u003cp\u003ePracticing making a bass melody stand out 199\u003c\/p\u003e \u003cp\u003eMoving Uptown: Melody in the Treble 200\u003c\/p\u003e \u003cp\u003ePlaying a treble melody within arpeggios 201\u003c\/p\u003e \u003cp\u003ePracticing making a treble melody stand out 202\u003c\/p\u003e \u003cp\u003eMixing Up Your Melodic Moves: The Thumb and Fingers Take Turns 203\u003c\/p\u003e \u003cp\u003ePlaying a shifting treble-and-bass melody within arpeggios 203\u003c\/p\u003e \u003cp\u003ePracticing making a shifting melody stand out 205\u003c\/p\u003e \u003cp\u003ePlaying Pieces That Combine Arpeggios and Melodies 206\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 13: Combining Left-Hand Techniques While Playing up the Neck 217\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eLayering Melodies and Using Barres up the Neck: Counterpoint 218\u003c\/p\u003e \u003cp\u003eCombining Melody and Accompaniment with Barres and Slurs up the Neck 219\u003c\/p\u003e \u003cp\u003ePlaying Pieces up the Neck with Left-Hand Techniques 222\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 4: Mastering Classical Guitar Repertoire 229\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 14: Playing Pieces by the Guitar Greats 231\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGetting Acquainted with the Master Guitar Composers 232\u003c\/p\u003e \u003cp\u003eConcentrating on Music by the Spanish Composers 233\u003c\/p\u003e \u003cp\u003eSaying hello to Sor 233\u003c\/p\u003e \u003cp\u003eTackling Tárrega 233\u003c\/p\u003e \u003cp\u003eFocusing on Music by the Italian Composers 236\u003c\/p\u003e \u003cp\u003eGelling with Giuliani 236\u003c\/p\u003e \u003cp\u003eCozying Up to Carcassi 237\u003c\/p\u003e \u003cp\u003ePlaying Pieces by All the Master Guitar Composers 240\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 15: Early Guitar Music from the Renaissance and Baroque Eras 251\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGetting an Overview of the Styles 252\u003c\/p\u003e \u003cp\u003eThe Renaissance 252\u003c\/p\u003e \u003cp\u003eThe Baroque era 253\u003c\/p\u003e \u003cp\u003eIdentifying Some Renaissance Composers 254\u003c\/p\u003e \u003cp\u003eTraditional 16th-century melodies by anonymous composers 254\u003c\/p\u003e \u003cp\u003eJohn Dowland and other great lutenists 255\u003c\/p\u003e \u003cp\u003eRecognizing Some Baroque Composers 258\u003c\/p\u003e \u003cp\u003eBack to Bach 258\u003c\/p\u003e \u003cp\u003eGetting a handle on Handel 259\u003c\/p\u003e \u003cp\u003ePlaying Pieces from the Renaissance and Baroque Eras 261\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 16: The Guitar Comes of Age: The Classical, Romantic, and Modern Eras 269\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Classical Era: Mozart’s Muse 270\u003c\/p\u003e \u003cp\u003eGetting in Touch with Beethoven, the Classical Hopeless Romantic 272\u003c\/p\u003e \u003cp\u003eLetting the Inside Out with the Romantics: Brahms 274\u003c\/p\u003e \u003cp\u003eDreaming with Debussy: Music Becomes Modern 276\u003c\/p\u003e \u003cp\u003ePlaying Pieces from the Classical, Romantic, and Modern Eras 279\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 5: The Part of Tens 289\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 17: Ten (Or So) Classical Guitarists You Should Know 291\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAndrés Segovia (1893–1987) 291\u003c\/p\u003e \u003cp\u003eJulian Bream (b 1933–2020) 292\u003c\/p\u003e \u003cp\u003eOscar Ghiglia (b 1938) 293\u003c\/p\u003e \u003cp\u003eJohn Williams (b 1941) 293\u003c\/p\u003e \u003cp\u003ePepe Romero and Angel Romero (b 1944, 1946) 293\u003c\/p\u003e \u003cp\u003eChristopher Parkening (b 1947) 294\u003c\/p\u003e \u003cp\u003eDavid Starobin (b 1951) 294\u003c\/p\u003e \u003cp\u003eManuel Barrueco (b 1952) 294\u003c\/p\u003e \u003cp\u003eEliot Fisk (b 1954) 295\u003c\/p\u003e \u003cp\u003eBenjamin Verdery (b 1955) 295\u003c\/p\u003e \u003cp\u003eSharon Isbin (b 1956) 296\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 18: Ten Things to Do When Shopping for a Classical Guitar 297\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGo Retail if You Aren’t 100 Percent Sure What You Want 298\u003c\/p\u003e \u003cp\u003eBring a Friend Along 298\u003c\/p\u003e \u003cp\u003eDecide on a Price Range Before You Go 298\u003c\/p\u003e \u003cp\u003eKnow Your Materials 299\u003c\/p\u003e \u003cp\u003eEvaluate the Construction and Workmanship 299\u003c\/p\u003e \u003cp\u003eGet a Feel for the Guitar 300\u003c\/p\u003e \u003cp\u003eCheck the Intonation 301\u003c\/p\u003e \u003cp\u003eListen to the Sound 301\u003c\/p\u003e \u003cp\u003eJudge the Aesthetics 302\u003c\/p\u003e \u003cp\u003eDetermine a Guitar’s Growth Potential 302\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 6: Appendixes 303\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAppendix A: Basic Guitar Care and Maintenance 305\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eKeeping Your Guitar Comfortable 306\u003c\/p\u003e \u003cp\u003eTemperature 306\u003c\/p\u003e \u003cp\u003eHumidity 306\u003c\/p\u003e \u003cp\u003eProtection, both at home and on the road 307\u003c\/p\u003e \u003cp\u003eCleaning Your Guitar 308\u003c\/p\u003e \u003cp\u003eChanging the Strings on Your Classical Guitar 308\u003c\/p\u003e \u003cp\u003eStep one: Remove the old string 309\u003c\/p\u003e \u003cp\u003eStep two: Tie off the string at the bridge 310\u003c\/p\u003e \u003cp\u003eStep three: Secure the string to the roller 311\u003c\/p\u003e \u003cp\u003eMaking Minor Repairs 313\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAppendix B: About the Online Tracks and Videos 315\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eRelating the Text to the Online Files 316\u003c\/p\u003e \u003cp\u003eListening to the Tracks 317\u003c\/p\u003e \u003cp\u003eWatching the Videos 321\u003c\/p\u003e \u003cp\u003eIndex 323 \u003c\/p\u003e","brand":"John Wiley \u0026 Sons Inc","offers":[{"title":"Default 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