Single String Studies for Guitar: Volume 2

FREQUENTLY ASKED QUESTIONS

Please click here to submit your questions.

QI have Single String Studies, and have questions about pages ix and x.
At the top of page ix, it seems that, by definition, middle C on the treble cleff is played on the 3rd fret of the A string. Thus, rather than sounding middle C, the sound is an octave lower. This is what I get out of the top of page ix. On the same basis, the bottom of page ix indicates that a note played on the 3rd space of the treble cleff will sound middle C. These two plays are consistent, as both sound an octave lower than written.
However, the top of page x implies that middle C (Example 5) is played on the first fret of the B string.
I am confused as to what is guitar music and what is not. The top of page ix says that middle C in guitar music is played on the 3rd fret of the A string, while top of page ix implies that the same middle C is played on the1st fret of the B string. Would it not make sense that guitar music be transposed upward one octave from the non-guitar music, say piano music, and be written on the treble cleff that way? Could it be that the middle C in Example Five should be on the 3rd space of the treble cleff? This would be consistent with the bottom of page x.
Perhaps you can give me a few words of wisdom on this.
Thank you
A Your question was forwarded to me, and here are my words of wisdom: OOOOOPS!!!!.

There is a mistake on page "x" the diagram should show the "C" note on the 3rd fret of the A string as shown at the top of page "ix".

While I am of course upset that there was a mistake, I really appreciate your bringing this to my attention. Both Muse-eek and I have made every effort to catch mistakes and misprints, but with thirty-six and counting technical books to proofread, some get past us. We will have a "corrections" page up at the muse-eek.com website in about a month. You will be able to download a PDF file of this page so your book will be correct. And because of your comments, we will of course be correcting all future printings of the book (From today on, as a matter of fact!)--so thanks again. 03/30/00

If you have any other questions or comments please let me (us) know. We are striving to make Muse-eek an excellent distance learning company for music education. We hope to provide students with the tools to become first rate musicians and to clear up misconceptions and bad practice habits that can plague their progress.
 
QI don't understand how transposition works with the guitar. I realize that guitar is a transposing instrument when you read a written part but I don't understand what that means. Could you explain it to me?
AWell this transposition stuff does get confusing doesn't it. Let me give you a couple of examples that will help you see how to write for the guitar and also understand what you are reading when you play guitar music.

First, let me say that the guitar is a transposing instrument and sounds an octave below where piano music is written.

So, let's say I'm composing a melody at the piano and I want the melody to be C, D and E starting on middle C on the piano. If I want the guitar to play this melody in the same octave that it is sounding on the piano I will have to write this on the 3rd space of the staff for C, moving to the 4th line for D and then the 4th space for E. As you can see the guitar is reading notes an octave above so that the sound will come out in the same octave of the piano.

Second, let say you are reading a guitar part and the first three notes are C (one ledger line below the treble clef or what would commonly thought of as middle C) to D space below lowest line and E first line of the treble clef. When you play the first note C this is not sounding in the same octave as middle C it is the pitch one octave below middle C.

As you can see from these two examples the guitar as far as pitch is concerned is a fairly low sounding instrument - (the low e-string sounds way down an octave and a minor sixth below middle C) but with a very broad range of notes; at least four octaves. This actually is one of the reasons they made the guitar a transposing instrument because it would need both the bass and the treble clef to accomodate all the notes on the instrument. Rather than have guitar written with a grand staff (grand staff is when you use both the bass and treble clefs together, like piano) they just use the treble clef but make the guitar a transposing instrument. It's really ultimately easier to do it that way. (--you don't want to have to read grand staff, do you?)

Single String Studies is written for guitar, therefor it is already transposed into the treble clef for you . But remember if you read middle C in an exercise, you are playing the 3rd fret of the A string and it is actually sounding an octave below this note. If you are playing along with a pianist and looking over their shoulder at treble clef, you will have to play an octave higher on your instrument if you want to play the same pitch and blend with the piano..

Hopefully this helps you understand and picture how this system works.
 
QHello! I saw on Amazon that the book Single String Studies For Guitar: Mastering the Guitar Fretboard is available.

I was wondering how this book is different from Single String Studies Volumes 1 and 2. Would I be better off getting vols 1 and 2, or is the same information in the Single String: Mastering Book?
ASingle String Studies For Guitar: Mastering the Guitar Fretboard and Single String Studies Volumes 1 are the same book. I would just order one volume at a time. This is an extremely challenging book and probably will take a year to get through each book.
 
QAbout a year ago I received Volume One and Two of your Single String Studies, and never got around to using them. Needless to say, I am using Volume One now. I've also printed the scales and your rhythm exercises from the member's area to work on. I'm working on the dorian scale right now. I can read music in the 5th and 10th positions fairly well, but I've seen that you are right on with learning the entire fret board without looking at it. This way I won't be limited in my playing, or reading.

Do you think I should work from both books One and Two at the same time? I like to do difficult things. Don't ask me why, I enjoy horribly difficult tasks. In the reading of sheet music in my house (I have about 15 or 20 different fake books) should I be reading them off of one string for now, or stick to my positions, or try to work on the songs on all strings even though I'm just doing the single string reading right now?

I don't have money because I don't have a job, so I can't purchase any other books at this moment, but any recommendations for other titles would be helpful. Do you have any books on poly-rhythms? I studied music at a community college for 2 years, and pending on my being accepted to Temple I would really like to boost up my practicing schedule. Since I have no job I could actually put in 6 to 8 hours of practice every day. Any suggestions you have would be of great help to me in my study.
AI would proceed through the book as you had mentioned basically focus on one exercise a week in the key of c, then move to the next string in the key of c. Then go back to beginning of the book and start on the key of f through all strings. I'd do the "all string studies" last.

You had mentioned that you have a lot of time on your hands so you could work through both Single String Studies books at the same time. If you want more things to sight read I would go to your local library which should have a section of printed music. If your library is not well equipped ask them if they have interlibrary loan. If they do you will be able to order books from other libraries to use for sight reading. I would check out all kinds of music from Bach to Webern and also look into Jazz transcription books, there are many out on the market now. A librarian would be able to help you in your searches. You can even do it from home by searching large university libraries like Princeton or NYU. You should sight read one hour a day, spend only about 10 minutes on each book. Also go to the member's area and get the file "beat reading" which is in the "Help files for Rhythm." The technique of beat reading will improve your sight reading dramatically in a short period of time. I do of course have a series of books for sight reading so if you come into some money at some point let me know and I'll give you those titles.
 
Q I'm interested in getting back into choral music singing, and I was never anything beyond a beginner. You recommended the following to another singer:

Ear Training One Note Complete
Fanatic's Guide to Sight Singing and Ear Training
Music Theory Workbook for All Instruments

I'm guessing that those are the books you would recommend. Is there any rhythm work in the sight singing book or would I have to buy the rhythm primer to get rhythm practice?

I also wondered whether you had any plans to come out with software versions of your books. As a language student, I've found software drills to be really helpful - especially for generating random drills of Greek verb forms. If you aren't planning to make one, is there a software program that you would feel comfortable recommending for a Mac User - that wouldn't interfere with your system? Are you familiar with Ars Nova's Practica? http://www.ars-nova.com/practica.html
ACurrently we are not developing a computer version of our ear training program. We do have plans to do this in the future though. The books you mentioned would be a good place to start with the ear training. It will get you started with the ear training on two fronts and the Music Theory will help you process music and ear training much faster.

For rhythm studies I would start with Rhythm Primer and then proceed at least through Rhythms Volume One and Two. I do have more advanced books after that like Odd Meters but unless your going to be doing some advanced choral music you probably won't need a book like that.

I also have a choral ear training book called LINES but I wouldn't work on this book until you have worked through Ear Training One Note Complete and Key Note Recognition. You first need to understand how you hear before attempting to part sing. I also many times recommend one of my guitar books for ear training. Single String Studies for Guitar Volume One and Two are excellent books to use for developing your ability to sight sing. You have to do some octave adjustments but other than that it's a real good book to help develop key retention. I wouldn't use these books until you have finished Ear Training One Note Complete.

I know the program Ars Nova's Practica and I wouldn't recommend it as a replacement or as an additional program to my method until you have completed Ear Training One Note Complete, Key Note Recognition and the Two Note Ear Training Books. By the time you have gone through these books you will realize how you can use any program in the right way to improve your ear training ability. I will say that one thing nice and useful about the CDs that go with my books is you can do them anywhere as opposed to a computer program which can only be used when you have a computer with you. A little hard to do when you are taking a walk.
 
QHere's the history: When I started working with your material I was more than 90% accurate on the single note drills due to previous ear training. I got Key Note Recognition and I am now getting just one or two wrong in a random pass through the 48 tracks. I also got the Lines book and have sung through the single note exercises twice, singing against either a drone or a full major chord. Sometimes it takes a while for a tone to come into my head, so I can't really sing these in time yet.

And here's the question: I have begun the advanced single line exercises in the Lines book (singing without accompaniment). I am not quite sure what do about modulation. For example, when I get to the 8th bar of Exercise 2, I am singing Fa for the F note, but I can't seem to imagine Mi. I realized finally that I hear the F as So. So obviously I COULD begin singing in Bb. The trouble is that when I have followed the tonic around like this, I get into a situation where the following notes are very difficult as well and I realize that the tonic I have inferred is a much worse choice than the key of the piece.

Do you have a suggestion for getting past this confusion?
AWell thanks for contacting me because it sounds like your about ready to drive the car off a cliff. I will explain the modulation in a minute but honestly you probably shouldn't be working on modulating yet. It's OK to sing the LINES book examples with a drone, but, once you remove the drone, if your sense of key isn't strong you will find yourself all over the place with modulations. So first it's really better if you work on the 2 note method and get a good grasp on that before attempting modulation examples. I would also recommend getting a book called Single String Studies for Guitar Volume One and doing some singing exercises out of that. When you get the book write back and I'll give you an assignment.

So let me explain modulation to you. When you are singing an exercise and reach a note that doesn't sound the way it should you have modulated. So in your case the F started sounding like So, so you have modulated to Bb. In that case you would continue singing in Bb. Unfortunately the next note is E, which is not in the key of Bb, and your singing and key retention abilities are not strong enough to then hear #4 in the key of Bb. This of course is what you would expect because you would have to be more advanced to be able to do this.

So get the Single String Studies book and start on the two note method. We will actually have to work through both Volumes of the Single String books to get you up to speed before modulating. But with some work in both these books you will hopefully be modulating correctly.