Classical Guitar study

Digitized by the Internet Archive in

2012 with funding from

LYRASIS Members and Sloan Foundation

http://archive.org/details/classicalguitariOOwues

The undergsigned, appointed by the Schwob School of Music at Columbus State University, have examined the Graduate Music Project

titled

CLASSICAL GUITAR INSTRUCTION FOR THE PRE-COLLEGE CLASSROOM

presented by Blake Wuestefeld a candidate for the degree of Master of

Music

and hereby certify

it is

that in their opinion

(Project Advisor)

J

-•I

in

Music Education

worthy of acceptance.

Classical Guitar Instruction for the Pre-College Classroom

Blake Wuestefeld

Columbus

State University

December 2007

Ill

Abstract:

This project levels of study and

is

is

a curriculum for secondary guitar instruction.

It

consists of eight

designed for the beginning to intermediate student.

selections and explanations of the pedagogical validity of the works.

It

has repertoire

These works were

selected due to their cumulative and didactic nature and because of the specific technical

issues they utilize.

These technical issues are introduced gradually

to ensure a student's

steady and incremental progress in both technical and musical aspects.

The

student executes exercises from such sources as

the Classic Guitar, the

Royal Conservatory of Music graded repertoire

by many of the most celebrated composers repertoire of all styles and periods and

guitar educator.

Aaron Shearers: Learning

is

series,

and works

for the instrument. This project includes

truly varied.

It is

an invaluable tool for any

IV

Table of Contents

Abstract

iii

Introduction

Level

1

5

1

Level 2

19

Level 3

24

Level 4

29

Level 5

32

Level 6

35

Level 7

38

Level 8

41

Appendix A: Repertoire References

list

46 52

Introduction.

Throughout

its

history, there

philosophy of the classical

pedagogues

as,

among

Sor, and Dionisio

guitarists.

have been a variety of contributions

Thanks

guitar.

others,

is

pedagogical

accomplishments of such important

Aaron Shearer, Matteo Carcassi, Mauro

Aguado, there

One can draw from

to the

to the

Giuliani,

Fernando

a great deal of information available to aspiring

these diverse contributions

many

useful instructions and

exercises.

An extremely positive a

demand

aspect of guitar

for guitar instruction has

grown

is its

recent rise in popularity.

to the point

As

a result,

where the private sector alone

is

not able to meet the social need. This has lead to the introduction of guitar instruction in public schools. This growth requires the need to assess the

way

that

music educators

teach guitar. While disciplines such as band or chorus have long been taught in the

classroom is

now

setting, guitar

has generally been taught in the one-on-one lesson forum. There

a need to teach the instrument in a class setting. This project

repertoire and

method

is

a compilation

that results in a practical, concise collection that will

prove

to

of

be

an invaluable tool for a secondary guitar teacher. This curriculum

ensemble

is

intended for a secondary school student

for a two-year sequence.

It is

who

is

taking guitar

divided into eight sequential and didactic levels.

Executing these levels requires the student to master important aspects of guitar playing.

The curriculum follows

a standard four semester high school schedule, with each year

divided into two sections. Moreover, specific standards requirements.

it

Each

exercises for a developing guitarist.

is

cumulative, sequential, and allows for any area

level consists

of appropriate studies, works, and

The

first level is

intended for an absolute beginner

who

has no experience with

the instrument. Issues concerning seating, posture, holding the guitar, nail shaping and

basic right-and-left hand techniques are introduced. In addition, basic music reading

introduced in the reinforces

first

position.

competency on the

Next

is

of the principles of level one and

a continuation

guitar and reading in the

beginning of simple arpeggio studies. Level three adds studies as well as

music extending up

first

in

position, and include the

more advanced right-hand

The next

to fifth position.

section continues with

studies and elementary repertoire with the addition of advanced scale patterns.

consists of beginning pieces as well as the continuous

hand

studies.

The following

reading beyond the

level introduces shorter

fifth position.

The seventh

fifth

left-

multi-movement works and music

level includes

as different types

The

all

read in

The

advancement of both right-and

on fingering and left-hand techniques such final stage requires students to

is

more advanced knowledge of slurs and simple

trills.

positions, play at the intermediate level and

have knowledge of extended techniques.

Each of these each technique that issue.

This

is

is

levels will include repertoire lists

to

be taught, as well other pieces

a defined sequential

method of teaching

and specific musical examples of that include the

class guitar

same kind of

on the secondary

level.

Below

is

a

summary of issues addressed

in

each level of the lesson plan.

Levels of Development

Level

Goal

1

Seating, posture, holding the guitar, nail

shaping, basic right and

left

hand

techniques, basic music reading in the

first

position.

2

Seating, posture, holding the guitar, nail

shaping, basic right and

left

hand

techniques, basic music reading in the

first

position, arpeggio studies.

3

Arpeggio

studies, reading

up

to fifth

up

to fifth

position.

4

Arpeggio

studies, reading

position, easier repertoire.

5

6

Arpeggio

studies, reading

position,

more advanced

Arpeggio fifth position,

shorter multi

7

Arpeggio

up

to fifth

repertoire.

studies, reading

more advanced

up

to

repertoire,

movement works.

studies, reading

up

to fifth

4

position,

multi

more advanced

repertoire, shorter

movement works, improved

left

hand

fingering and techniques.

8

Arpeggio

studies, reading,

repertoire, shorter multi

improved

left

more advanced

movement works,

hand fingering and

techniques, improved reading in

positions.

all

Level

1.

AjL Right hand technique Right hand technique classical guitar instruction.

is

the

most important

The volume,

tone,

initial

issue to be addressed in

and speed of a student are

all

affected

by

the technical mastery of the right hand. Without a proper right-hand technique, in

addition to inaccuracy and poor tone, injuries

RSI, as

it is

known,

is

may

occur such as repetitive strain injury.

an umbrella term for any muscular, tendon, or nerve disorder

caused by any movement that employs undue tension to execute a movement. result in the student not

It

can

being able to play the instrument and having pennanent issues

with his or her hands (http://content.nejm.Org/cgi/content/short/355/8/8 1 8). Avoiding counterproductive tension

is

the foundation of good guitar playing and

development of the student. The goal of good right-hand technique execute

movement without

amount of undue

the least

Classic Guitar Vol.

The a

way that

the most efficient and ergonomic; this

in

an awkward

way

that

hand executes movement best when Efficient

Motor Function" (Shearer

productive tension.

crucial for the

be able

to

This can be

Aaron Shearer's Learning

the

1.

The opposite of this type of tension known hand moves

in

overall goal of proper right-hand guitar technique

is

is to

strain or tension.

accomplished by following many of the ideas outlined

is

as

is

known

is to

execute

movement

as "Productive Tension."

"Counter Productive Tension,"

is

when

encourages excess tension in the hand. The

it

utilizes

1990).

what Shearer

in

calls

the

human

"The Four Principles of

They encompass every

part

of playing with

Muscular alignment

is

the

first

playing with proper technique. This

is

of these four principles and

is

the

most

the idea that "Muscles function

step to

first

efficiently

only when naturally aligned with their base and joint attachments" (Shearer 1990). This alignment allows the most efficient movement of the hand, wrist, arm, and back.

The second of these states that

position

is

principles

is

the midrange function of joints. This concept

muscles function well when they are in the midrange position. The midrange

when each joint

contract or relax.

is at rest.

On any joint

The muscles

there are

in the

human body do two

things, they

two types of these muscles, flexors and

An example

extenders. Flexors are the muscles that cause a joint to contract.

of this

is

the muscles used to close one's hand. Extenders are the muscles on the outside of the

joint such as the ones that

open the hand. The midrange position

and extenders each have the

midrange position

is to

least

amount of tension

drop one's arm to the

in

them.

side, the natural

A

is

when both

the flexors

good example of the

curve the hand makes

is

the

mid-range position.

Uniform direction ofjoint movement

is

one of the principles

many

that

find difficult to accomplish. This principle states that "Muscles function

only

when

all

three joints of a finger or the

(Shearer 1990). This flexion then

The

all

allows the

the concept that

is

when one moves

of the joints must contract or extend

no

restraint applied to stop the

where a

batter does not stop his

movement of swinging

efficiently

are either flexed or extended together"

a finger in the direction

in the

same

An

movement.

swing once he

the bat to complete

its

of

direction.

final principle is follow-through; this is the notion that

begun, there in baseball,

is

thumb

most

guitarists

when

excellent

hits the ball.

natural cycle.

a

movement has

example of this

The player

is

7

The

instruction of right

hand technique

is

so paramount that a student must

accomplish the fundamentals of this technique before the left-hand

The following

exercises are designed as the initial lesson.

exercises that encompass twelve basic

used here

is

the standard labeling of fingers used in

labeled P, and

is

is

all

in

are a

M, which

the abbreviation of anular.

even discussed.

list

of right-hand

playing guitar. The system

of classical playing. The thumb

taken from the Spanish word pulgar the index finger

stands for indcce the middle finger

which

movements used

They

is

is

labeled

/,

represents medio and the ring finger

and

A

is

Right

Hand

Exercises.

AMI A

M 1

I

alternating with

AMI

M alternating with AMI A

alternating with

AMI

arpeggio

IMA

arpeggio

AMI

P P

alternating with

AM IP arpeggio PIMA

arpeggio

AMI

B. Musical literacy.

Level

Work 1.1

So-RE One

1

Repertoire List

Composer

Pedagogical benefit

Shearer

Practice playing the

an

1.2

Bugler's Tune

Shearer

D

open

G

strings

Practice playing three

open

strings.

1.3 Scale

Song

Shearer

Practice playing part of the

major 1.4 Counterpoint

Shearer

scale.

Student

is

introduced to the

basic idea of counterpoint.

1.5

77z
Weaver

Shearer

Improvement

in

reading

quarter and eighth note

passages, develops a sense

of rhythmic proportions 1.6

Dance of the Downward

Shearer

Skip

1.7

March

Practice skipping multiple

strings.

Shearer

Practice using

P

exclusively.

1.8

Serenade

Shearer

Student plays multiple lines

for the first time.

1.9

Folk Dance

Shearer

Similar to Serenade, but

10

with more complex rhythm.

1.10

Two by Two

Student plays two notes

Shearer

simultaneously.

Student plays in a musical

Shearer

1.11 Petite Valse

texture

1.12

Andante I

common

to guitar.

Rhythmically similar

Shearer

Serenade, with a greater variety of notes.

1.13

Music Box

1.14 Moorish

Dance

P with IM

Shearer

Alternates

Shearer

Alternates a bass line with

broken chords. 1.15 The Gondolier

1.16 Etude

Moderne

Musical literacy

is

Shearer

PIM Arpeggio

Shearer

PIM Arpeggio

an aspect of the classical guitar that

is

of the highest

importance. Unlike popular styles such as folk, rock, or finger style of the instrument,

is

essentially impossible to

music. The text that

I

be a successful

have chosen for the

Sheaer's Learning the Classic Guitar Vol.

classical guitarist

initial

II.

exercises to be contained in a single volume.

section of the curriculum

This

has proven itself to be one of the finest texts in

and not be able

is

is

it

to read

Aaron

an industry standard method and

this area.

It

is

The following

also helpful for these initial

are the exercises that are to

11

be introduced

after the sections material has

been presented. Each chapter begins with

the introduction of the material to be learned.

and

D

seems

string.

to

While the book explains

be more advantageous

student to stay in a

to

use

more comfortable

that

I

The

first

one needs

for the

D

thing introduced

to

string

the

is

open

use P to play these notes,

and

M for the G.

G

it

This allows the

position while learning to read music.

The student

should keep P on the bass string to allow for a more stable position. The chapter then gives short studies in the form of duets.

accompaniment

someone

at the

The top

line is the student

and the

line is for the teacher. This gives the student the opportunity to play with

very beginning of their training, and for development of rhythm. The end

of each chapter includes a solo piece

that

encompasses everything learned.

12

1.1

Reading exercise

1-

LCGII

pg. 14-15

So-RE On

(

Shearer 1990)

Student

^:=ifc

3§:r:i:-fi:

"#- -ar~

fcftrse

'ÊE:EJE

Eft:.

~i$hz:

Teacher This lets the

is

an example of one of the exercises used in the

student practice playing both the open

these exercises

is that

G

and

D

first

strings.

chapter. This exercise

An

excellent aspect of

these pieces utilize the open strings. Using open strings allows the

student to be able to keep the standard posture that they have already learned.

encourages follow-through, and

is

It

also helpful because each finger is only assigned

one

string.

1.2

This

Reading exercise

is

G, D, and through.

2-

LCGII

pg. 17 Bit2ler's

Tune (Shearer 1990)

an example of one of the end-chapter solo pieces.

B

strings.

It

includes use of the open

This allows the student to use three finger and encourages follow-

13

1.3

Reading exercise 3-LCGI1

pg. 26 Scale

Son2

(Shearer 1990)

^^

in

This exercise utilizes diatonic writing to introduce the student to a portion of the

major

scale.

The second

section also has eighth-note rests followed

by successive

eighth notes. Practicing this exercise helps the student develop a better sense of

rhythm. 1.4

Reading exercise 4-LCGII pg. 28 Counterpoint (Shearer 1990)

^m

I Counterpoint

's

strength lies in that

it

tests a student's ability to

play a single line

while the teacher plays counterpoint. This requires the student to be able to listen to not only their

1.5

own part,

but to their partner's part as well.

Reading exercise 5-LCGII pg. 29 The Weaver (Shearer 1990)

£ r The Weaver requires the student

lt

"

to play eighth-note passages.

student to improve their reading skills and overall speed.

This helps the

The change from

eighth to half notes also helps the student to develop a sense of rhythmic

proportionality.

quarter to

14

1.6

Reading exercise 6-LCGII pg.35 Dance of the Downward Skip (Shearer 1990) M.M. J = 116

i

^

n~rr

Dance of the Downward Skip covers It is

J

all

'

J

of the notes presented

in the

previous lessons.

sixteen bars long with constant quarter notes with only one half-note at measure

eight.

also requires the student to skip multiple strings; an increasingly difficult

It

technique.

1.7

The work

also requires students to read larger intervals.

Reading exercise 7-LCGII pg.42 March (Shearer 1990)

fîn The March

an excellent exercise for students to practice playing bass notes with P

is

for the first time.

M, and

I,

the top three strings,

A

are not being used, so the player can rest those fingers

which gives the student a proper reference point

on

for playing this

exercise as well as stability

1.8

Reading exercise 8

L

ffrrr

Serenade

is

the

pg. 44 Serenade (Shearer 1990)

^M

m

i

i

LCGH

first

L rzni

exercise in the text that has two parts for the student. Shearer

introduces this concept to the student by having each individual part play on different beats.

In this piece, the student

never plucks more than one string

understand the concept of playing multiple

parts.

at

a time but begins to

15

Reading exercise 9 LCGII Folk Dance (Shearer 1990)

1.9

1

J>fi

IX multiple lines.

It

HUT

r

Folk Dance

is

is

J

r

\

the final piece in the section dedicated to playing music with

similar to Seranade but contains

dotted-quarter-eighth note motive in the

first

more

measure.

difficult

It is

rhythms such as the

repeated throughout the

work

and helps the student with issues of counting. 1.10

Reading exercise 10 LCGII pg. 53 Two by Two (Shearer 1990)

m

-

r

Two by Two

r

f

1

i

mm

introduces the next level dealing with playing two notes simultaneously.

This exercise stands out from

many

from the Shearer

music which can bring the student incrementally

level

text provide

others due to the concept of the piece.

by having them execute simultaneous notes both a

third

to these specific intervals gives the student a greater sense

and a

The examples

fifth apart.

to the next

Keeping

of accomplishment due

increased activity in both hands, without excessive left-hand difficulty.

to the

16

Reading exercise XI LCGII pg. 54

1.11

ff#^ f

Petite Valse (Shearer 1990)

«

r p

r Pefr'ft?

Valse introduces the student to a

common

guitar texture: valse

accompaniment. The combination of a bass note followed by two quarter notes in

much of the

at the

also gives

them experience playing

two

in a

waltz-style texture.

i Much

BE

same

at

major; a

common key

and

the

Andante

I

(Shearer 1990)

fUU m m m m m

like the Serenade,

and bass

pg. 58

1

$

string

same time but

Reading exercise XII. LCGII

1.12

found

guitar repertoire. This not only gives the student practice in playing

notes on the treble strings

common

is

Andante

I,

is

an exercise that simulates playing treble

time. Another beneficial aspect of this piece

in guitar music.

M on the B string.

This

is

It

also implements the use

excellent practice for

string alternation subsequent example.

when

is

the introduction of

of alternating

I

D

on the E

the student begins same-

17

Reading exercise XIV. LCGII pg. 64 Music Box I (Shearer 1990)

1.13

—m— m—

—

w

tf

'

m—^

m

—

w-*

m

—

This exercise introduces the student to alternating between two simultaneous notes

being played and a bass note. This

is

one of the most important studies

the student could use this later on as a warm-up.

thumb

that is

used

is

The

alternation

in the

book and

between fingers and

an invaluable aspect of guitar playing.

Reading exercise XV. pg.68 Moorish Dance (Shearer 1990)

1.14

M.M.

I r In the

J-

96

rrr

Moorish Dance, the student

alternates

between playing a measure of bass notes

followed by an alternating bass-chord measure. This exercise gives the student experience in changing compositional texture with each measure as well as the opportunity to focus on

P alone,

then

P with

fingers.

18

Reading exercise XVI. pg. 73 The Gondolier (Shearer 1990)

1.15

B1EEfegg

r

m r/ze

case

it

in the

is

f

±

J:

f

Gondolier

f is

the

first

/YM. This technique

development as a

piece that the student plays an arpeggio pattern, in this

is

guitarist.

a staple of the classical guitar repertoire and

It is

at this

is

crucial

time that a student might be able to

progress from the method book and into actual small pieces, such as arpeggio studies.

L16 Reading

rp.

4I ,

i r

This concept.

exercise

is

XVII

pg. 75

Etude Moderne (Shearer 1990)

rrJ, rfl, rft

r

f

F

a supplement to the student if they are having difficulty with the aipeggio

Many

students might need

continue with this exercise. This

is

some more time

in this text

and therefore should

because the student might not be able to execute the

arpeggio pattern with the fluency they need to

move

onto the next level.

19

Level

2.

Arpeggio Studies Studies involving arpeggio patterns provide an excellent foundation for a

guitarist's right-hand technique.

on the

rest

These following studies can have

of the student's guitar playing

material for the student to use as

career.

warm-up

to truly positive affect

These exercises are also excellent

material, technical

development and

maintenance.

Level 2 Repertoire List

Work 2.1

Prelude

in

Composer

Pedagogical benefit

A Major Op

Ferdinando Carulli

PIMA Arpeggio

minor

Op

Ferdinando Carulli

PIMA MI Arpeggio

minor

Op

Ferdinando Carulli

PM alternating I Arpeggio

Matteo Carcassi

PIMA

114 2.2 Prelude in a

114.

2.3 Prelude in e

114 2.4 Etude

#2

in a

minor

followed by changing

position to play Right

hand

alternation.

2.5 Etude

#19

Matteo Carcassi

AMIMA

2.6 Etude

#7

Matteo Carcassi

Tremolo

Leo Brouwer

PAM1AMIPAMIP

2.7 Estudio Sencillo

Arpeggio pattern

Arpeggio

20

2.1

Prelude in

A Major Op

114.

-Ferdinando Carulli (Ricordi 1973)

ri^n^î^ n

r

f

r

This prelude consists of a repeated right-hand pattern of PIMA. basic of these patterns and

more

it

the

most

an excellent piece for a warm-up routine. There are some

difficult left-hand fingerings but

acquired,

2.2

is

It is

with the experience that the student has already

should be an attainable goal.

Prelude in a minor

Op

114.


2 1

Carulli 's Prelude in a minor features an extremely

the aspiring guitarist.

make up

It

common

arpeggio pattern for

involves a continuous right-hand pattern of PIMAMI. Septuplets

the continuous rhythmic pattern and this gives students the opportunity to play a

piece with an interesting rhythmic concept. These pieces are also valuable due to the

frequency that these patterns appear in guitar compositions.

21

minor Op

2.3 Prelude in e

iX

ill

a

i

It is

followed by

/.

in e

4 *

-

r

The Prelude repertoire.

m

m m

m

~m


in

a,

J

114.

M

m r

m

minor by Carulli

is

another staple of the classical guitar study

an ideal piece for dealing with alternating between

The

real benefit

of this study comes when the student moves on

and the experience of playing

string alternation,

P and M together

this piece prepares

them

to single

for this

new

technique.

2.4

Etude #2

minor- Matteo Carcassi (Hemry 1993)

in a

P

m

m

JL

'"*-

m

^

t!!

p

i

# m

t

mff. This study

is

an excellent

right-hand alternation. This

is

way

cresc. -,

for a student to get introduced to the concept

the technique that requires the player to alternate playing

with two separate fingers on the right hand. This

M.

This

is

alternates

almost exclusively done with / and in that

it

is

the technique used

and scale-like passages. This exercise works quite well because the player

between a standard

followed by alternating / and

from the

is

an extremely important part of playing guitar,

to play scales

of

third to the

first,

PIMA

arpeggio, to which they are already familiar,

M on the top

which

is

string.

paramount

It

also involves string crossing,

in right-hand alternation.

moving

-)•>

2.5 Etude #19-

Matteo Carcassi (Henry 1993) 4 «l

I

J.

1

'W

, ~~

§E" ^ =

fL

-

-"^

-

'

#

_»

MW4-W-! >» # r# ^ #

i

i

r

«rf

This study employs the use of an arpeggio pattern

many reasons why

begins with A. There are these

that

is

that,

unlike most studies,

students find this etude difficult.

by beginning with A, and playing a bass note

at

the

same time

One of

forces the

player to complete an arpeggio without having the stability of having the thumb give support. Another issue

is

the changing of the right-hand pattern from

measure

to

measure. 2.6

Etude #7- Matteo Carcassi (Henry 1993)

¥

2?

O

1

This study

ability

is

a

I

»

sustained tone,

I

,

1

'

m

M jja

t is

designed to introduce the student to the concept of tremolo. While

more advanced

of a student

i

\

/

tremolo

J JJ

!

technique, the overall difficulty of this piece

at this level.

by having

The

technical goal of tremolo

is

three notes play in sequence followed

is

within the

to give the illusion

by

a bass note.

of a

The

piece breaks up the tremolo pattern with interludes of arpeggios that have already been studied. This gives the student a

change

in pattern

and gives

their

hand a chance

to relax.

23

2.7 Estudio Sencillo #6-

Leo Brouwer (Brouwer 1972)

This work by Leo Brouwer

is

an excellent example of a study that students will

While the execution of this piece

find challenging.

the reading of this piece can be quite intimidating.

hand pattern but aspect

is

how

it

is

more complex than many

the student

must read

is

not as difficult as one might think,

The piece involves

studies,

in higher positions

due

the

to its length.

and be able

same

right-

Another

to shift to

shapes with accidentals, which they are not normally accustomed. While

difficult

chord

many of these

arpeggio studies require the student to read in positions in which they might not be confident, the

left

reach the chord.

hand chord shapes do not change very

often, giving the student time to

24

Level

3.


Work 3.1

Country Dance

3.2 Wilson

's

Wilde-

Composer

Pedagogical benefit

Ferdinando Carulli

P

Anonymous

Student uses more advanced

vs.

IM

alternation

alternation and

hannonic

structure.

3.3

The Parlement

Anonymous


alternation,

more complex

rhythms, altered tunning

Anonymous

3.4 Volt

Student uses more advanced alternation,

more complex

rhythms, altered tunning,

more 3.5

Andante Op.44, No.l

Fernando Sor

Work

shifting

of positions.

includes

monophonic

texture followed

by

counterpoint.

3.6

Andante Op. 27

Ferdinando Carulli

Student must play

homophonic

texture

alternating with chords.

3.7

Andante

op. 35, no. 14

Fernando Sor

Piece contains

more

advanced rhythmic figures and

stylistic

concerns.

25

3.8

Andantino

Mauro

op. 50, No.

This work develops

Giuliani

students ability to execute

21

complex rhythmic ideas and stylistic issues

3.9

Arpegge

Francis Kleynjans

The piece

utilizes

patterns and

harmonies

arpeggio

modern

to give the

student a piece from a

different period.

3. 1

Country Dance- Ferdinando Carulli (Kraft 1990)

The Country Dance, by Ferdinando

Carulli requires the student to develop

P and IM.

calls for the eighth-notes in the

alternation

line to

between

be played / than M,

3.2 Wilson's Wilde-

J

f

gj

J

it

is

While the score

more

beneficial for the phrase to

Anonymous (Noad

-iJ

r

1
J

-

1974)

be fingered

melodic

MM.

26

Wilson piece

is

much

's

Wilde

less

is

an excellent work from the Renaissance period. While the

many of the

complicated than

composition and one that

is

It

harmonic ideas

also requires the student to use

positive aspect of the

work

it still

is

quite a successful

The piece

appropriate for a student of this level.

into three sections, featuring similar

theoretical ideas.

time,

is

that could

be used

more advanced

the bass notes location on the

open

is

broken

to explain

alternation.

strings,

many

Another

which makes

it

playable.

3.3

The Parlement- Anonymous (Noad 1974)

4i)

\k

w

^

to

D

and

tuning.

tools

is

excellent

^

jyj

melody and contains many excellent pedagogical

technical

experience playing with the most

demands of this piece can be

alternation and string crossing, this

is

ft

%

inr

g

—

~=M .

r

lf

The E

string is

common

tools.

lowered

alternate

difficult for a beginner.

challenging but accessible.

3.4 Volt- Anonymous (Noad 1974)

I

t

the fact that this piece employs scordatura.

this gives the student

The

*

o«*

The work has an

One of these

v

It

requires

)

27

Volta

excellent

is

another piece that a student must play with

companion piece

to

D

tuning.

It

makes an

The Parlement as they are in the same key, both are shorter

works, and stylistically consistent. 3.5

Andante Op.44, No.l-Fernando Sor

m

A

i

-

(Jeffery

200 1

Mm

m i

*r 3J

r

This simple work of Sor serves as an excellent piece for the aspiring

While the work mainly consists of a monophonic This work helps the student in

texture, the

many ways, one of which

outlines chords. This helps the student learn

how

is

ending

how

is

guitarist.

contrapuntal.

the solo line simply

left-hand chord shapes are

formed and

assists in their overall reading ability.

3.6

Andante Op. 27- Ferdinando Carulli i

m

i

m

i,

w £Fftyl Andante slightly

is

(Kraft 1990)

i

>/

a wonderful exercise for a student guitarist

more advanced piece of the

who

repertoire. This execution

is

now

able to play a

of this piece helps

students to be able to play both scale material and alternating chords. This allows the student to be able to play both scales and chords in one piece. the work,

it is

Due

to the

Ternary form of

longer than most of the examples and performing this work can improve a

student's stamina.

28

3.

7 Andante op.35, no.

14-Fernando Sor

P^4

-3 J

r

*

i

(Jeffery 2001

—

J

j

This work involves the implementing of the dotted-quarter-sixteenth rhythm.

There are also two instances

that involve triplets. This is

an excellent piece

student's rhythm and to teach the stylistic concerns that are associated with

3.8 Andantino op. 50, No.

n ±

SB

4

_

F

Andantino rhythmic issues great

is

later

way to show

21-Mauro Giuliani

to solidify a

it.

(Jeffery 2002)

£

s::

m'/:

F

another piece from the classical period that can help with odd

on

in the piece as well as contrapuntal writing,

it

could also be a

students the similarities and differences in the works of Giuliani and

his contemporary, Sor.

3.9 Arpegge- Francis Kleynjans (Brightmore 1987)

mm

m

m

P*

g'frrrr^TTrT7l

F

Arpegge gives a student the opportunity

to

have been working on previously but with minor

implement arpeggio studies

alternations.

It is

that they

a contemporary work,

so one could use this as a forum to discuss the stylistic aspects of modern art music.

29

Level

4.


Work

Composer

Pedagogical benefit

4.1 Study #1

Francesco Tarrega

Improved

alternation,

diatonic scale passages

4.2

Minuet

J.S.

Bach

Counterpoint, get to play

Bach 4.3

Almoin

Robert Johnson

Difficult

harmony and

rhythm 4.4

Trow Nocturnes,

no. 1

J.K.

Mertz

Student learns to play in the

romantic style 4.5 Adelita

Learn higher positions,

Francesco Tarrega

ste

m direction, distinguish bass and treble

4.1 Studio no.l- Francisco

Tarrega (Rodriguez 1991)

f?!!!*!H8B--_ i-i

--,: „&6.::.

4ffi

«

The

?/,

first

!w™w™~«JB™. ,.„.,.„y„

•%$*-

.)

study by Francisco Tarrega

improves the student's alternation of/ and

.;

is

M

E

ai-.™!™**™***.

an excellent exercise for any giving them

many

guitarist.

opportunities to play

It

30

diatonic scale passages in the

crossing

4.2

is

position.

first

Due

to the alternation, difficult string

required.

Minuet- Johann Sebastian Bach arr. Norbert Kraft (Kraft 1990)

(M.M.J =96)

m

I

p

/

J

i

| f

°J

J

f Minuet guitarist.

m

'

It is

is

jj

I

ir

r-

i

an excellent transcription that can be quite helpful to the student

a great exercise to assist a student in understanding counterpoint

able to execute complex right hand movements. Also the student

by one of the most important and 4.3

influential

composers

is

and

able to play a

to

be

work

in history.

Almain- Robert Johnson (Noad 1974) 4 1*"

g

J

I

Almain

is

%

T

*

another piece from the renaissance period, that allows the student to be

able to play interesting rhythms and harmony.

overwhelmed but

still

It

is

shorter, so the student is not too

able to convey these musical ideas.

4.4 Trois Nocturnes op.4, no.l-

Johann Kasper Mertz (Wynberg 1985)

Andante con moto

3E I

1 3 13

i

l

nPrf^ r

.

Ai,

T

T

^P^P T

31

The these

three Nocturnes

by Mertz

are

some of his more

an excellent example of the Romantic

is

style.

It

didactie pieces.

allows

room

give a student the opportunity to attempt more expressive playing.

rhythms

like the

Sor only

4.5 Adelita- Francisco

this piece requires

moving

The

for rubato

It

first

of

and can

also contains dotted

to the fifth position.

Tarrega (Rodriguez 1991)

$3 p

?

Adelita

f is

an excellent

concept of the piece

is

way

for students to learn the higher positions.

The

overall

quite simple but the execution requires the student to play out of

their comfortable range.

It

also gives students the opportunity phrase

and balance inner voices. The piece can also be used

to explain

melodic passages

stem direction and the

notation involved in distinguishing between the treble, bass and inner voices, as well as

slurs.

32

Level

5.


Work

Composer

Pedagogical benefit

5.7 Canarios

Gasper Sanz

Hemeola, use of ornamentation

5.2 Walzer

WoO

J.K.

Mertz

Slurs and staccatos

5.3 Trois Nocturnes, no.

J.K.

Mertz

Rubato and phraseing

5.4 Preludio sem.29

Tarrega

Complex chord

shapes,

higher register

5.7 Canarios-

Gasper Sanz (Koonce 2006) ir

U

w

r Canarios

is

arguably one of Sanz's most well

hemeola created by the division of the bass

known and most played works. The

line is quite effective.

grouping of two in the bass line followed by a

He

D on the second beat

first

establishes a

of the next measure,

establishing a grouping of three. This piece also requires the student to use

which for the

is

an invaluable tool for any

Baroque

guitar,

which can

guitarist.

also

The

strumming

students also get to learn a piece written

be discussed within a

historical context.

33

WoO- Johann Kasper Mertz (Wynberg 1985)

5.2 Walzer

No .4.

p $

a

EjeeI "f

t

-r

r

r

The Walzes by Mertz

is

? 1

i

requires

much

It

It

r

r

many of the

characteristics that

we

has a strong melody and the overall writing of the

practice from the student, but

above seems easy, the further appears.

»p

a piece that holds

think of in relation to good music.

work

g

into the piece

is still

attainable.

one studies the true

While the example

difficulty

of the work

includes slurs, which were introduced in Adelita and staccato figures that can

really challenge a student.

5.3 Trois

Nocturnes

op.4, no.2-

Johann Kasper Mertz (Wynberg 1985)

Andantino

^^^^^^^P

No.2.~

f

The second of the

The

difficult

three nocturnes

of this piece

lie in

by Mertz, follows the same concept

as before.

the musical aspects rather than technical subdivisions.

requires the use of rubato and phrasing to be affective.

It

duple in the treble line while simultaneously playing in

triple division in the bass.

playing two against three the

open

string

makes

is difficult at first,

this

the slow

an attainable goal.

does require the student

to

It

play

While

tempo and placement of the note on

)

34

5.4 Preludio sem. 29-Francisco

Tarrega's 29

registers.

th

prelude

is

Tarrega (Rodriguez

1

99 1

a great etude for teaching a student to play in higher

A reason for this is that the work is not long and focuses on block

chords

followed by arpeggios. This gives the student time to reach these difficult chord shapes

and learn these movements. Though piece

makes

it

it

looks quite difficult, the tempo and length of the

easier for a student at this level to

be able

to

perform such a work.

35

Level

6.


Work 6.1

Pavanas

Composer

Pedagogical benefit

Gasper Sanz

Ornamentation, specifically

trills

6.2 Valse in

C minor

Understand three-part

Franicis Kleynjans

texture, holding out note

values

6.3

Jamie N. Zenamon

Recuerdo

Bringing out of melodic notes in an otherwise dense

texture

6.4

Reggae Sunrise

6.1

Pavanas- Gasper Sanz

(

skill

from the

a

zjr

This Pavannas guitarist

ornamentation,

it

is

w^

another famous work by Gasper Sanz, which requires

who

paterns

$ f

Complex arpeggio

Martin Byatt

plays

can be quite

it.

It

difficult.

much

can look deceptively easy, but with the required

An example

takes place in the second measure of the work.

of this

is

the inner string

trill

that

36

6.2 Valse en si

^

mineur Op.

J.

r

•*#

77- Francis Kleynjans (Brightmore 1987)

J

Tw^m

7^

This Fa/se by Franicis Kleynjans a waltz, with the

i

,.J

is

more modern harmonies.

a great

It

example of mixing an old

such as

gives the student the experience of bringing

out certain melodies while balancing the inner voices.

them grasp the concept of the

style

three-part texture.

One can

utilize this

work

The execution of this piece

to help

also requires

the player to hold the notes to there proper and full value.

6.3

Recuerdo- Jamie M. Zenamon (Brightmore 1987) Moderato

^m m

nip ^^=S r

mf

This work requires the student to fluent reading in

them

piece

also valuable in that to properly play

is

single melodic notes

It

also

and play more contemporary harmonies. The

requires

to read multiple accidentals

many positions.

it,

from a otherwise arpeggio

one must master the texture.

ability to bring out

37

6.4

Reggae Sunrise- Martin Byatt (Brightmore 1987)

tf

a-*^ a##•

fr-nb

fcg-g ff

cr

i

2-e-

(5)

Reggae Sunrise syncopation.

concept.

It is

in

The piece

The piece

as a

is

a great piece to help a student understand and internalize

E Major and

also requires

consists of chords outlining the basic syncopated

many

arpeggio patterns containing

many

accidentals.

whole also includes much chromatic writing and the necessity

advanced fingerings.

to use

more

38

Level

7.


Work

Composer

Pedagogical benefit

7.1 Paisaje

Jaime M. Zenamon

Correct note duration

7.2 Chinese Blosson

Jaime M. Zenamon

musicality

7.3 Monferrina

Mauro

Grace notes

1

A Lessson

Giuliani

Fernando Sor

8

unusual chord shapes and non-idiomatic writing

7.5 Petite Piece

Fernando Sor

dotted-quarter-eighth

passages, slurs

7.1

Paisaje-

Jamie M. Zenamon (Brightmore 1987)

Calmo

a

m

-i

a

P

m

T The work is

i

'LU' is

in 6/8

and requires the student

it is

paramount

i

m

lU

to follow the correct note duration.

especially difficult to accomplish this in the bass.

discipline to attain this concept but

p

It

to

requires

good

much

It

practice and

guitar playing.

The work

also

39

thumb on one of the other

much 7.2

notes on the

many of the bass

requires the student to play

Chinese Blossom- Jaime M.

rest his or

her

Zenamon

performance of this piece

(Brightmore 1987)

a slow melodic piece that requires the student to be able to

is

this exercise is technically

much

is

convey the musical exercise of the piece. While

to

simpler, the musical expression needed for a successful

of a high

level.

Legato can be a

accomplish when playing an irregular arpeggio pattern,

be able

to ring

to

difficult expression to

this exercise requires the student

execute this concept. The student also will learn

beyond duration, such

Monferrina Op.

12,

as in the last beat of the

No.3-

Mauro

first

how

*EBE5 a ;

—£n

m bl

m

I

Giuliani (Kraft 1990)

j£

4

M

r

mi

The Monferrina within the classical

is

style.

m

9

r

T

* t

another Giuliani piece that requires the player to perform

This

throughout the work. This quite simple

allow certain notes

I

4

T

to

measure.

/

I

1

and then

can be a difficult movement that could require

strings, this

show extreme musicality and touch

7.3

string

practice.

Chinese Blossom

to

D

is

is

made even more

difficult

due

to the grace note

passages

a great piece for the aspiring player in that the texture

which allows the student

to

be able

lesson that practicing the piece can yield.

to concentrate

is

on the more important

40

7.4

Lesson 8 from 24 progressive lessons

Fernando Sor

op. 31-

(Jeffery

200

1

Andante 4~#.

Ogr -r '

I

^'"

l

;' ;

EE3EE

.

f'"""-" ,4"*i'"'y

"

y J— ~~A~-~A

„„

*

j

„

*

*

AJB-Jil "*j3"~~»if

,

-4-

-j

I f f 7^^.,,^^:. 1

,

.:.

I :?:

t

p Number as

it

addressees

uses essentially

this

eight of the progressive studies

many

issues such as unusual chord shapes and non-idiomatic writing.

many techniques and

work helps students

is

this allows the student the

7.5 Petite piece 1

This techniques.

difficult.

It

how

requires

many awkward

the right-hand part

freedom

op. 32-

by

is

much

shifts.

less

on the more

to concentrate

from 6 Petite pieces

Fernando Sor

Another reason

complex than the

(Jeffery 2001

many of Sor' s

one of the

It

consists of chordal and dotted-quarter-eighth patterns and can

six small pieces

Sor.

It

requires the student to be proficient in

The piece

also

utilizes

writing

be quite

complex rhythmic ideas such

employs the use of slurs which

previous works in the collection.

left

difficult concept.

is

quintuplets and sextuplets.

many of the

an excellent tool for a student guitarist

is

as

differs than

It

that

and

41

Level

8.


Work 8.1

Cake Walk

Composer

Pedagogical benefit

Richard Charlton

chromatic texture, improves dexterity and speed

Mauro

8.2 a Sonatina #1 op. 71

Movement

Arpeggio figures

Giuliani

that are

common among many of

I

his larger works, continuous

theme and variation

Mauro

8.2b Sonatina#l op. 71

Movement

In F, also requires limited

Giuliani

alternation

11

and arpeggio

figures

Mauro

8.2c Sonatina op. 71 #7

Contains both sixteenth

Giuliani

Movement III

note and arpeggio patterns within the movement.

8.1

Cakewalk- Richard Charlton (Brightmore 1987)

Andante (J

pip 7 rnf

-

ca. 96)

3

frte

TR

1

jjJMJ

•2

42

Cakewalk in

is

another modern piece that could really improve a student's

terms of left-hand dexterity and speed.

a great exercise for the left

It is

abilities,

hand and

improves dexterity and speed. The use of accidentals and therefore, chromatic texture

makes

this piece

an exceptional reading challenge.

8.2 Sonatina op. 71 no.l

The in three

final piece in the

movements and

Sonatina

-Mauro

is in first

is

Giuliani (Jeffery 2002)

curriculum

is

Mauro

a staple of the student guitarist's repertoire.

position,

which

is

comfortable for one

allows a student to focus on other difficult tasks.

of multiple movements. eight only has

It is

It

a

includes

how

An example would be the variations.

One could

classical style.

work

The work

The

idea of returning to the

(Jeffery 2002)

Mao 5 to so

"TTf

it

is

entire nine

consists

why

level

weeks

to

an accurate example of the classical time and this knowledge can be

explanation of how the

which

is

trio

first

movement

movement

to

and then a return to

one of the cornerstones' of the

A section after both the B

and

C

the cohesiveness that gave these classical forms their esteem.

Movement I-Maestoso

work

and therefore

use the Menuetto and Trio

also includes a rondo,

a

entire

not an easy work, as

during this era the menuetto would be followed by a

the menuetto.

gives the

is

many of the most famous forms of the

theme followed by

explain

is

two pieces. The majority of students would take an

imparted to the student.

is

This

at this level

The

It is

the largest endeavor of the curriculum and this

prepare a piece of this size and scope. The work

style.

Giuliani's Sonatina no.l.

sections

43

The

movement of the work

first

theme and variation his larger works.

that utilizes

The form

many

a typical

form of the

arpeggio figures that are

be discussed

itself can

The movement begins with

student.

is

the

melody

classical era; a continuous

common among many of

to introduce these

concepts to the

in quarter notes then evolves into

multiple variations containing eighth and sixteenth note phrases, this rhythmic acceleration can an excellent

Movement

¥

s

'

Z7

II-

"

j

to introduce this

Menuetto and Trio

— —t

JT "i

"

a>

V

^

p

way

fk.

<*>

ir

—-

_ -—

—

a

I

(Jeffery 2002)

g-^rr-^—w

movement

is

Movement

is

a

menuetto and

trio.

This

movement

ideal practice for an instrument that rarely plays in flat keys.

It

III-

also contains dotted-eighth-sixteenth patterns throughout the

Rondo

The Rondo The

is

movement.

is in

F

The

common

in

movement.

(Jeffery 2002)

the concluding

movement of the work and though

practice of playing longer pieces prepares the student for

require playing a long piece.

the

*

«A

also requires limited alternation and arpeggio figures that are quite

guitar music.

playable.

—

— ~

The second movement of the work Major, which

concept to a student.

It

it

is

extended but

when they do

contains both sixteenth note and arpeggio patterns within

44

In conclusion, classical guitar instruction can

teacher and student.

As

it

is

with

all

music

be overwhelming for both the

instruction,

bad habits are hard

to

should be avoided. In order to provide for good instruction one must have a

break and

set lesson

plan for the student. Issues of rhythm should be introduced incrementally to properly

guide the various complexities therein. The register of the piece must be of the proper level or the student will

be too overwhelmed with the concept. The length of works must

be appropriate or the student

have the muscular or mental stamina

will not

properly execute a work. The student must be given a piece that

is

to

be able

to

of a sufficiently

simple reading level or he or she will develop bad reading habits or a simple inability to read notation.

The

repertoire selection,

struggling with a piece that does not

advanced

level,

must be idiomatic

work well on

in nature, or the student will

the guitar and, until they reach a

Key

another more suitable selection should be chosen.

signature

be

more

is

another important aspect of repertoire selection; in that the guitar can be exponentially

more

difficult to play in flat

reason.

The

overall texture of the

If the texture is

level.

right

work can

affect the validity

and left-hand

important things to remember

parts.

One should

is

this

of the repertoire selection.

simply too dense, then a student might not be able

One of the most

both hands.

keys and so a teacher must choose a different piece for

to play a

work of this

the difficulty of the individual

not choose a piece that

is

extremely difficult for

A good teacher would choose a piece where the student can accomplish the

requirements of one hand easily be able to concentrate on the other hand's issues. This allows for a more gradual improvement, which

is

always preferred.

It is

with these

concepts for which a teacher must be prepared, or said teacher must face inconsistent progress and overall stagnation of the learning process. This

is

why this

curriculum

is

45

such a practical tool for the secondary guitar instructor;

it

takes

all

of these

account and leaves the teacher with a quality sequence of instruction.

pitfalls into

46

Appendix A: Repertoire

List

47

The complete

list

of repertoire.

Work

Composer

Pedagogical benefit

So-RE One

Shearer

Practice playing the

an

Bugler 's Tune

Shearer

D

open

G

strings

Practice playing three

open

strings.

Scale Song

Shearer

Practice playing part of the

major Counterpoint

Shearer

scale.

Student

is

introduced to the

basic idea of counterpoint.

The Weaver-

Shearer

Improvement

in reading

quarter and eighth note

passages, develops a sense

of rhythmic proportions

Dance of the Downward

Shearer

Skip

March

Practice skipping multiple

strings.

Shearer

Practice using

P

exclusively.

Serenade

Shearer

Student plays multiple lines for the first time.

Folk Dance

Shearer

Similar to Serenade, but

with more complex rhythm.

48

Two by Two

Shearer

Student plays two notes simultaneously.

Shearer

Petite Valse

Student plays in a musical

texture

Andante

Shearer

I

common

to guitar.

Rhythmically similar Serenade, with a greater variety of notes.

P with IM

Music Box

Shearer

Alternates

Moorish Dance

Shearer

Alternates a bass line with

broken chords. The Gondolier

Shearer

PIM Arpeggio

Etude Moderne

Shearer

PIM Arpeggio

14

Ferdinando Carulli

PIMA Arpeggio

114.

Ferdinando Carulli

PIMAMI Arpeggio

Ferdinando Carulli

PM alternating / Arpeggio

Matteo Carcassi

PIMA

Prelude

in

A Major Op

Prelude

in

a minor

Prelude

in e

Etude #2

in

Op

1

minor Op 114 a minor

followed by changing

position to play Right hand

alternation.

Etude #19

Matteo Carcassi

AMIMA

Etude #7

Matteo Carcassi

Tremolo

Estudio Sencillo

Leo Brouwer

PAMIAMIPAMIP

Arpeggio pattern

Arpeggio

49

Wilson

's

Anonymous

Wild

Student must use more

advanced

right

hand

alternation.

Anonymous

The Parlement

Student uses more advanced alternation,

more complex

rhythms, altered tunning

Anonymous

Volt


alternation,

more complex

rhythms, altered tunning,

more Andante Op. 44, No.l

Fernando Sor

Work

shifting of positions.

includes

monophonic

texture followed

by

counterpoint.

Andante Op. 27

Ferdinando Carulli

Student must play

homophonic

texture

alternating with chords.

Andante

op. 35, no.

14

Fernando Sor

Piece contains more

advanced rhythmic figures and

Andantino

op. 50,

No. 21

Mauro

Giuliani

stylistic

concerns.

This work develops students ability to execute

complex rhythmic ideas and stylistic issues

50

Francis Kleynjans

Arrpegie

The piece

utilizes

patterns and

harmonies

arpeggio

modem

to give the

student a piece from a

different period.

Study #1

Francesco Tarrega

Improved

alternation,

diatonic scale passages

Minuet

J.S.

Bach

Counterpoint, get to play

Bach Almoin

Robert Johnson

Difficult

harmony and

rhythm Trois Nocturnes, no.

1

J.K.

Mertz

Student learns to play in the

romantic style

Francesco Tarrega

Adelita

Learn higher positions,

ste

m direction, distinguish bass and treble

Pavanas

Gasper Sanz

Ornamentation, specifically

trills

Valse in

C minor

Franicis Kleynjans

Understand three-part texture, holding out note

values

Recuerdo

Jamie N. Zenamon

Bringing out of melodic notes in an otherwise dense

51

texture

Reggae Sunrise

Martin Byatt

Complex arpeggio

Paisaje

Jaime M. Zenamon

Correct note duration

Chinese Blosson

Jaime M. Zenamon

musicality

Monferrina

Mauro

Grace notes

Lessson 8

Fernando Sor

Giuliani

patterns

unusual chord shapes and non-idiomatic writing

Petite Piece

Fernando Sor

dotted-quarter-eighth

passages, slurs

Cake Walk

Richard Charlton

chromatic texture, improves dexterity and speed

Sonatina #1 op. 71

Mauro

Giuliani

Arpeggio figures

that are

common among many

of

his larger works, continuous

theme and variation Sonatina#l op. 71

Mauro

Giuliani

In F, also requires limited

alternation and arpeggio

figures

52

List

of References

Brightmore, R. (Ed.). (1987). Modern Times Volume

I.

Heidelberg: Chanterelle Verlag.

Brouwer,

L. (Ed.). (1972).

Etudes Simples

-

Volume

2: Nos.

6-10

.

Paris:

Max

Eschig.

Matteo Carcassi - 25 Melodic and Progressive Studies, Op. 60. Milwaukee, WI: Hal Leonard.

Henry,

P. (Ed.). (1993).

B

Jeffery,

(Ed.). (2001).

Fernando Sor: The

New

Complete Works for Guitar.Vol. 4

Budapest: Telca Editions.

B

Jeffery,

(Ed.). (2002).

Mauro

Giuliani: The complete Works Vol. 8 London: Telca

Editions.

Koonce, Frank (2006). The Baroque Guitar

in

Spain and the

New

World. Pacific,

Mo:

Mel Bay. Kraft,

N

(Ed.). (1990).

Kraft,

N

(Ed.). (1990).

Royal Consen>atory of Music Guitar Series: Book Oakville, Ontario: The Fredrick Harris Music Co., Limited. Royal Conservatory of Music Guitar Series: Book The Fredrick Harris Music Co., Limited.

1

2.

Oakville, Ontario:

Kraft,

N (Ed.).

Noad,

F. (Ed). (1976).

The Classical Guitar.

Noad,

F. (Ed.) (1974).

The Renaissance Guitar.

Consematojy of Music Guitar Series: Book 3. Oakville, Ontario: The Fredrick Harris Music Co., Limited

Rodriguez,

(1990). Royal

M (Ed.). (1991).

New

York,

New

NY:

York,

Ariel Publications.

NY:

Ariel Publications.

Tarrega: Obras Completas Para Gitarra Vol.

I.

Madrid:

Soneto. Ricordi, (1973). Carulli, 24 Preludi, dall'Op.

1

14,

Per Chitarra. Milwaukee, WI: Hal

Leonard.

Aaron (1990). Learning the Classic Guitar Part Music. Pacific, MO: Mel Bay.

Shearer,

Shearer,

Aaron (1990). Learning

2:

Reading and Memorizing

the Classic Guitar Part One. Pacific,

MO: Mel

Bay.

53

Tarsy, D,

& Simon,

Retrieved

D,

K (2006).

December

4,

Dystonia. The

New England Journal ofMedicine,

2007, from

http://content.nejm.Org/cgi/content/short/355/8/8

Wynberg, S

(Ed.). (1985).

Chanterelle.

355,

1

8.

Johan Kasper Mertz Guitar Works volume

V.

Heidelberg:

Classical Guitar study

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