DiatοnicMaj οrandMinοr

Scales

byΑndr6s SegΦvia

DΙAToNΙc MΑJOR ΑΝD MΙNOR SCALES

, ΡREFΑCE by Αndr6s Segovia

The thoughtful musician who reviews the history of the μitar from its earliest beginrrings οannot butbe surprised at the lack of a practical system of studies and exercises coordinated i.n such a way as topermit the faithful sfudent to progress cοntinuously frοm the first easy lessons to real mastery of theinstrument. For this lack we οould blame thrοe great men who have revealed to us the true spirit ofthe guitar: Sor, Aμado, and Tiιπega. But they have an exοellent exοusθ for their negleοt: they de-

voted their time religiously to the task of providing the guitar with the only really valuable repertoiτeit οan οlaim. This is especially true of Sor and Tλπega. Αμado did continuousΙy interest himseΙf inthe probΙems of teaching, and with worthy resuΙts. Ιndeed, his didactic rvorks are superior to his sοant

output as a composer. Αlthough his "School of the Guitar" is a disorganized compilation of studiesrryithout progressive logic, it is useful for the student who is already far advanced and who does notrequire elementary lesions. The bοgirιner who tries to learn from Αguado's book rvill find himselffloundοring helplessly. The beautiful, useless lessons which οomprise one part of the method pleasehis ear without limbering his fingers, and the others will be far beyond his capabilities.

of the three men mentioned above, T6πega did so much to make the guitar the sensitive instrument itis today. The others have left us a few pagss synthesizing his riοh talent and the wisdom drawn fromhis experience' Ιn suοh a book he might have counseΙed us'αrith the same good sΘnse and thο same

helpfulness that characterized his teachings during his iifetime. The express statement of his intent as

a teacher, unalterably preserved, would have rendered a fruitful serviοe to the guitar in the future inοur o\ryn tirne by excommunicating allthe false followers who misguidedly teaοh the μitar in hisname.

Since there is as yet no definitely established architecture of the study of our beloved instrument, webelieve it is our duty to try to fillthis lack. Apparently no one has cared to leave the traοe of his firsteffοrts on the guitar, φrhaps fearfulof imparting to the pupil the mystery of his olλm apprenticeship.We, on the contrary, are only too happy to set down suοh a record, embodying examples of our ownconquest of the prbblems we faced, in order to help the student develop to the utmost his artisticabilities.

The student who wishes to acquire a firm tοchnique on the μitar should not neglect the patient study

of scales. Ιf he practiδej them two hours a day, he will οorrect faulty hand positions, graduallyincrease the strength of the Γιngers, and prepare the joints fοr later speed studies. Thanks to the

independence and elastiοity which the fingers develop through the study of sοales, the student willsoon acquire a quality which is very diffiοult to gain later: physical beauty of sound. Ι say physiοal,beοause sοnority and its infinite shadings are not the resuΙt of stubborn will power but spring from the

innate excellence of the spirit.

Ιn order to derive the greatest possible benefit from the foΙlowing exercises, play them slowly andvigorously at first, more lightly and rapidly later. Many hours of arduous and frequently futileexercises οan be οondensed into one hour ofscales. The practiοe ofsοaies enables one to solve a

greater numbοr of technicalproblems in a shorter time than the study of any othοr exerοise.

DΙATOΝΙC MΑJΟR ΑND MΙNΟR SCΑLESr : index

m- : middΙe fingerι _ 3rd or ring finger

Ρractice each scaΙe apoyandoseven dmes as indicarcd beloτr.

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MUSIC FOR CTUIT^RMETΗODS' SΤUDlES, ΑND EXΕROISESAguado, D.

Arpeggio Studies, edited and fing. by Sophocles Ρapas (Co 257)Εight Lessons, fing. by Sophocles Papas (Co 16ο)

Papas, SophoclesCompleteTremolo Βook (Co 209)Sixty Solosfor Guitαr (Pick Style) (Co 301)Μethodfor the ClαssicαΙ Guitαr (co 300)

Segovia, Andr6s:Diαtonic Μαjor αnd Μinor Scαles (Co'l,27)

FoR SoLo GUΙTARBach, J. S,

Bαch Album, Fourteen Pieces, arr. by Sophocles Papas (co 169)|esu,|oy ξΜαn's Desiring (from Cαntαtα L47), arr. by SophocΙes Papas (Co 2O8)Largo fτom Cqntαtα No' 156, arr.by }. Damaceno (Co 205)Six Pieces (Vol. ]., Prelude in C, Εntrαtα,Little Fantasiα), (Vol. 2, Prelude to Cello

Suite No. 1, Βist Dubei Mir, Petite Courαπte), arr.by Sophocles Papas(CO207a&b) iSonatαΙΙ (Vol. 1', Grαυe and Fugα), (Υo1.2, Andαnte arιd, Aliegro), arr. by C.

Barbosa-Lima (CO 195a & b)Byrd Wm.

Pαυαnα Fαntαsiα and GαΙliιrd, arr.by ]. Brezrιikar (Co 238a)Paυanα arιd GαlΙiαrd, arr'by J. Breznikar (Co 238b)

Chilesotti, O.Tuto Lute Pieces, arr.by Sophocles Papas (CO,138)Six RenaissαnceLute Pieces, aπ.by Αlan NeidΙe (Co 142)

Cimarosa, D.Sonαtα (Boghen XV), arr. by A, Artzt (Co 193)

Handel, G. F.Suite in D minor Ο[ol. 1, Prelude, Allemαnde, Courαnte, Sarαbαnde), (Vol. 2, Μinuιt

ιυithVαriαtions, Air, Allegro), arr. by C. Barbosa-Lima (Co 201a &_b)Haydn,J.

Serenιde, arr.by C. Barbosa-Lima (Co 202)Andαnte' aru'by Sophocles Papas (co 148)

Purcell, D.Sαrαbnnde, arr.by Ι. Smith (co 250) .,Ι

Scarlatti, A.Gαυotte, arr. by EΙisabeth Papas Smittι (Co 122)

Torroba, F.494-aΦ1'2 Sonαtinα, fingered by Αndr6s Segovia (Co 168)

Turina,l.494-00301' Seυillana (Fαntαsia), arranged by Αndr6s Segovia (co 158)

VariousAlbum ξ Guitar SoΙos (SΦumaΙιn Romαnzα; Η. PurceΙΙ Minuet, lig, A Neω Ιrish

Tune;GliickΒaΙlet; ΑnΦ€s Segovia Εstudio-Vαls; BaΦ Courαnte; Brahms ValsGrieg Μelody fromLyric Pieces, opus 47, No. 3), arr'by Andrds Segoviaco 17υ

Lαtin Americαn SoΙosfor Guitαr (Ch6ros by Ηeitor Villa-Lob γlr119849ooo

?#ξi:7,*,a;#,#χ!"y{,Ψ'!,fili;#i{!trJ[ΙuψψuilψΙfl ψ{Ιμ||ψ,illΙililf

Papas and C. Barbosa-Lima, Nortefiα by ]. G6me, g1,MΑJOR t\'{ΙΝoR ScΑLΕS

Venezolαno by R. Borges) (Co 313)

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UMBΙΑ UKing

McoMPAΝY

SIC Cof Prussia, Pennsyvania 194

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C O LSole selling agent: THΕoDoRE PRESSER