■Z ni7 CORNELL UNIVERSITY LIBR AR^ 3 1924 098 732 658 J SMmv Cox Library Of Music & DanOB UncolnHali ComaUUnivoftity wunei *■ The Original *«<&^ ^u,'^ * ■For The Ua^nmian- Steel Guitar At Sight v Whout Notes ofTeacher PUBLISHED BY ^THE UNION MUSIC CO. TOLEDO OHIO * Copyright 1917 by E. N. Cruckert. ^ The original of this bool< is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924098732658 TO THE POINT The object of this Instruc- tor for the Hawaiian Steel Giutar, is to eliminate all unnecessary or worthless information to make this a large book. Any one can learn and un- derstand how to play without the notes or teacher by the simplicity of this diagram method at sight. E. N. GUCKERT. .d^k' msim m ^^ THE HAWAIIAN STEEL GUITAR The Hawaiian Steel Guitar is the same instrument as the regular six string Guitar , with the exception that the first, second and third string^are double strings tuned in uni- son to give a louder or more effective tone . The regular six string Guitar can be used by raising the Nut on which the strings rest about an eighth of an inch higher. Special nuts of this kind can be purchased at the mu- sic stores, or can be made out of a piece of hard wood to be placed in position of the nut of. the regular Guitar. THE STEEL BAR The Steel Bar that is used in holding down the strings to make the notes and chords is 3*/4 inches long, 1 inch wide, and I/4 inch thick, with a rounded edge on the side used for pressing the strings. MANKER OF HOLDING STEEL BAR The Steel Bar is held lightly in the left hand between the thumb and first finger, plac- ing the third and little finger under the rounded edge to hold the steel at an angle of 45 degrees, the second finger is used to guard or as a damper to stop the tones of the upper parts of the strings between the nut and the steel. In making Barre Chords of three or. more notes the steel is held down on all the strings with the thumb and first finger, the third and little finger being withdrawn from under the rounded edge are used as guards or dampers.^ In playing Single Strings or Single Notes the end of the steel about V4 inc^i from the point is used at the 45 degree angle. HOLDING DOWN THE STRINGS The Strings are not pressed down upon the frets to make the tones, as the steel bar is what might be termed a moving fret, it is for this reason that the strings must be raised higher than on the ordinary Guitar, by using a higher nut. The frets are only used as guides in making the notes or chords. The peculiar bell like or singing tone is produced by sliding the steel on the strings from one position to another. The Tremolo effect is produced by sliding the steel up and down the strings about an 1/g of an inch in what might be termed a quiver of the steel bar. Many beautiful and enchanting tones can be produced by little practice. It is these tones that have made the Hawaiian or Steel Guitar, (played with a steel) so popular, and in this way only differs from the regular Guitar. THE PICK The Strings are picked with the fingers of the right hand, the first and second strings are picked with the 1st and 21<* fing«rs, the third, fourth, fifth and sixth strings are picked with the thumb. The above is the Hawaiian method, but a more simple and effective method is to use the thumb in picking the 4*? 5t^ and 6t^ strings, the SI"* string with the 1%* or index finger, the 2^^ string with the 21<* finger and the 1^.* string with the 31** finger. Do not use the little finger as a guard by resting it on the Sound Board of the^^uitar as it detardes effective fingering. In a very short time by resting the upper part of the wrist on the loWer edge of the Guitar you will acquire the gage of the positions of the fingers to pick the strings. The hand is held in a curved position striking the strings with the ball ends of the fingers over the Sound Hole. As a general rule brass or nickle thimbles are used on the fingers and a brass or tortoise shell thumb pick. By using these thimbles and thumb picks a more brilliant tone is produced. TO TUNE The Steel Guitar is generally tuned to a high pitch to get the brilliant effect and for the benefit of those that have played the regular Guitar in the Spanish key with the S^^ string tuned to G. All that is necessary is to tune the Guitar one whole note higher this making the following Hawaiian method of tuning under which the instructions in this book are given. Tune the 3r^ string to A in unison with A (above Middle C on the piano) or to an ''A" tuning pipe or fork, then press 3^A string down on 4^]^ fret and tune 2°.** in unison (C|) then press 2^^ string down on SI** fret and tune 1^* string in unison (E) then tune 4 _ string in unison with 1^* string one octave lower (E), then 5^1^ string in unison with SI" string one octave lower (A), then Sf* string in unison with 4*? string one octave lower (E) . Making as follows : is.t string _ E 2nd » _ cj 3rjJ " _ A 4th » _ E 5*11 „ _ A gth h _ E THE POSITION OF HOLDING THE GUITAR Sit on a straight chair with both feet on the floor, chair must not be too high, lay Guitar on lap with head or finger-board at the left hand. The top end of the Guitar toward the finger-board resting against the inside of the left leg, the lower part of the body of the Guitar resting on the right leg pressed close to the body. 4 DIAGRAM OF THE GUITAR FINGER BOARD Showing the Six Strings and the Frets. Giving^ the names of the open strings and the names of the notes of each string on the different frets. Open Strings E If You Can Read Music, This diagram gives you the Chro- .matic Scale. If You Do Not Read Music It will be an advantage to study the names of the notes on this chart as the names of the different chords are all marked and it wil^ be easy to learn the names of each note of the cjiords by refering to this diagram. In Playing The Steel Guitar The Pupil must rely upon the ear to a great extent in making the notes or chords. To get the true tone the frets denote the positions of the steel where it is to be {daced.to make the notes which can be played either flat or sharp by placing the steel t&e least bit higher or lower than the guide of the fret. You ban play the Steel Guitar in higher tones than are marked .by the frets producing some very bril- liant effects. Strincs 6* 5^1 m 3rd ond .sK A Chord E A E A en E 4 _C) CM) Nut Open Strings to be played open. Held down at 5*^ fret with steel. EXPLANATION OF THE DIAGRAMS The diagrams or pictures of the fingerboard showing thfe airings which are represented by the six vertical lines. The horizontal lines represent the frets. The heavy lines at the top the Nut. The figures at the left side are the numbers of the frets below the Nut, and as man^^ chords are made on higher frets it will be necessary to look at the number of the fret before the diagramwhich may be marked 6-7-8-9-10 etc. etc. The Black dots show the position for the steel to hold down the strings, the open dots denote an open string to be played open without the steel as shown in this diagram the Chord of A. en tS' £i J^, -p, TJ, ^ W CO CM vH ILLUSTRATION OF THE BARRE CHORD E Chord 6 71 8 9 10. This diagram shows the Barre chord(or barred chord) of E which is made by holding the steel over all six strings at the 1^}^ fret,to play the chord pick the 5^? or Bass string with the thumb pick the three treble strings, l^t 2l4 and 31^ strings together, three times in succession mak- ing 4 counts, the Bass one the treble string 2 3 and 4, thus playing the chord in what is called -^ or Common time. THE SLIDE In making Barre chords slide the steel from the Nut to the position of the chord, for ex- ample try this E chord by sliding from the 5^i^ to the 7tli fret and tremolo at the ?*]» ffet . Key of C C Tonic Chord Sub Dominant Chord 4 Bar at S^A fret straight across the string's. This chord the Steel is held at an angle over— ar.d string at 3n.d fret, 2nd string at 4*^ fret, 1st string at 5*^ fret. G Dominant Chord 1 2 ► 8 4 5 1 2 3 4 ► 5 ( 1 i » i i i o < I 1 2 3 4 5 » i > i H » i Key of C Natural C Tonic Chord o oil Sub Dom. Chord 6 7 8 9 i > ^.iJ G Dom. Chord 6 8 9 10 C Tonic Chord 7.: 12 13 14 15 16 O 0(l( Key of F or One Flat F Tonic Chord Sub Dom. Chord ; 7 8 9 10 '.: C Dom. Chord 6 7 8 9 10 F Tonic Chord !{ |M! Key of FH or Six Sharps Fll Tonic Chord B Snb Dom. Chord Cjt Dom. Chord Fi Tonic Chord „ o i\ 4 8 9 10 11 ■ mmm ^^m ■■■■■ mO Key of G or One Sharp G Tonic Chord Sub Dom. Chord D Dom. Chord „ 1 10 11 12 13 14 „ o u. / 4 Tonic Chord /! 4t 5 6 7 8 { 1 i > i 10 Key of Bl» or Two Flats Tonic Chord Sub Dom. Chord 4 5 m 4 5 „ (1 n 6 8 9 10 F Dom. Chord Bt Tonic Chord oU, 12 13 14 15 16 or Four Flats 11 e 8 9 10 Al* Tonic Chord Sub Dom. Chord „ o - - <" 11 12 ^ 13 14 15 „ (» i 6 8 9 10 Dom. Chord ,:rv,u. 6 8 9 10 At Tonic Chord I Key of Dt or Fire Flats Dt Tonic Chord Sub Dom. Chord 3 4 ■ o ii 4 5 6 7 8 T 5 6 8 9 At Dom. Chord Dt Tonic Chord IL^LIU^ 12 Key of E or Four SUarps Ton E ic Chord 6 8 9 10 ) 1 » i ^ ( Sub Dom. Chord 10 • ( ) '■'i ^^ ( B Dom. Chord 1 2 3 4 5 ,.oi, • E Tonic Chord 10 (L: ILiU Key of B or Five Sharps B Tonic Chord E Sub Dom. Chord 4 ,—.—. — — 4 q tL. Fll. Dom. Chord 4 r 7 8 „ — ^> B Tonic Chord 9 10 11 12 13 13 Names of Chords on 1st Frev as shown on these diagrams, These same positions made one fret higher or on 2^^ fret would raise it one half tone as shown here . The Major Chords There Names and Positions on Every Fret El» Bl* J L J<\y\ ( F j» O 2n.d Fret_ B Major. 3rd Fret- C Major_ 4t]i Fret_ Cjt Major. 5t]> Fret _ D Major. 6t]» Fret _ e!> Major. 7tji Fret _ E Major. 8^1 Fret _ F Major. 9t.h Fret _ F# Major. 10*]! Fret_ G Major, llth Fret— a!> Major. i2t.l1 Fret- A Major. 13^1 Fret- Bb Major. E Major. F Major_ FJ? Major. G Major. AI» Major. A Major. bI» Major. B Major. C Major. Di» Major. D Major . Ep Major. Fjl Major. G Major. AI» Major_ A Major- fit Major. fi Major. G Major- Oil Major. D Major. EI> Major. E Major. F Major . You will note that the chords on the 13^.^ Fret are the same as on the l^t Fret . The 12th Fret on the Guitar is the middle or center of the strings and the chords below the 12yi Fret are the same as the chords below the Nut. The chords can be played below the last fret, the tone to be gaged by the ear. On the following page you will find the chords in all the minor keys. By learning the chords in the Major and Minor Keys you will be able to accompany any song or mel- ody in any key. There are three chords in each key as illustrated on next page. 14 The Minor Chords Their Names and Positions on Every Fret, G Minor Names of Chords on ist Fret as shown on these diagrams. These same positions made one fret higher or on 2*i«l fret would raise it one half tone as shown herfe. 2ndj?ret_ A|» Mitior. S^d Fret- A Minor. 4t'» Fret- BI» Minor. 5*h Fret- B Minor. e>^^ Fret- C Minor. 7th Fret- Cf Minor. S^h Fret- D Minor. 9*^ Fret- Eb Minor. lOth Fret- E Minor. llth Fret- F Minor. 12th Fret- FJl Minor. IStli Fret- G Minor. flff IL.^ 1 B Miflor <> ^.l 1 "^ C Minor. Cjt Minor. D Minor. Eb Minor. E Minor. F Minor. Fjl Minor. 6 Minor. A|> Minor. A Minor. Bb Minor . B Minor. Eb Minoi o \ o, E M: F M Fjl M: G M Ab M A M Bb M B M C M Cjt M D M Eb M nor. nor. nor. nor. nor. nor. nor. nor nor. nor. nor nor. Major Keys and their Relatire Minors There are three chords in every major and minor key a$ shown in the following table, the first chord being the name of the key, the second chord the Sub Dominant, the third chord the Dominant. C-P- G Relative Minor ... A Minor D Minor E Major F - b!»-c » n .^ D G » A » Bb-Eb-F )) !J .. G C » D » Eb-Ab-Bb » » _ C F )> G )) Ab-Db-Eb » n _ F Bb » C ' » Db-Gb-Ab » » .. Bb Eb » F » G-C-D n }) .. E A » D » D-G-A » » ^ B E )) fH » A-D-E » 1) Fi B » Cjl » E-A-D » )f cjl Fi » Gjl » B-E Fjl )> i> — Gl Cjl » Di » N ■fa o T— I •a -a V • wet « S o -^ " S u a " "I £ o ho f^ ■3 -o ** (0 CQ u la o <" »■' u ■° c d • O ,« « o « o is 2 « c « « o li o CO I w I a> bo - -S -o o a « bo c 8 3 O (0 •a u o u ,d u V T3 Ih o u a o « .Ei ^ -5 ^ o c o 10 o o !3 o •e 4>. ho a CO CO I I I I o e eo I ot I eo I I iO n o eo o 1 (ft tj 1 r\ ^ \J kO -e — t> 00 OS "i«» m I "** -M I 1! 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