Classical Guitar Pedagogy a Handbook for Teachers

CONTENTS

Cover Title Dedication Page Preface Publishing Credits Introduction Table of Contents Introduction to Book I Chapter One-Sitting Position of the Instrument Position of the Arms Position of the Legs Chapter Two-Anatomical Function of the Hands General Anatomical Terms Finger Movement The Thumb The Left Hand Position of the Wrist Guitar-related Injuries General Warning About Injuries Chapter Three-The Right Hand Position and Movement of the Right Hand Position and Movement of the Thumb Shape of the Nails Nails vs. Flesh Chapter Four-The Left Hand Position of the Left Hand Movement of the Left Hand Fingers Afterword to Book I Introduction to Book II

Chapter Five-The Right Hand Scratching Exercise Moving Exercise Releasing Exercise Additional Exercises Alternation Right Hand Fingering Chapter Six-The Left Hand Chapter Seven-The Right and Left Hands Exercises-"The Basic Seven" Rhythmic Variants of "The Basic Seven" Pulsing Scales Arpeggios Chapter Eight-The Teacher Teaching Coaching Chapter Nine-Practicing Practicing Practicing for Performances Chapter Ten-Additional Subjects for Intermediate Students Bars Vibrato (Arm, Wrist and Finger Vibrato) Developing Speed Accuracy in Fast Passages Tremolo Chapter Eleven-Additional Subjects for Advanced Students Advanced Bar Techniques (Hinge Bar and Split Bar) Appagado Arpeggiating Chords

Cadential Arpeggiation Harmonics (Natural and Artificial) Left Hand Split Trills Playing with the Flesh Rest Stroke Melodies in Arpeggios Right Hand Cross Alternation Right Hand String Crossing with P Subito Piano Slurs Tamboura Timbre Changes Chapter Twelve-Performing Stage Presence Chapter Thirteen-On Stage Stage Etiquette Stage Fright Media Chapter Fourteen-Teaching Children Chapter Fifteen-Arranging A Private Studio Introduction to Book III Introduction to Aesthetics The Artist The Art Chapter Seventeen-Physical Control Over the Sound Dynamics Timbre Articulation Phrasing Chapter Eighteen-Mental Control Over the Sound Singing Mental Dynamics

Mental Orchestration Mental Practicing The Strong-Weak Maxim Chapter Twenty-Schenker Analysis for Interpretation Chapter Twenty-One-Temporal Modes in Music Epilogue Appendix I Trouble-Shooting Checklist for Teachers Appendix II Sample 16-Week Lesson Outline Appendix III Suggested Methods, Studies and Pieces Appendix IV Suggested Magazines Appendix V Selected Research Source Materials Author's Biography