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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
'^EE: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)
f^in 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^^i^ 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.
-Ferdinando Carulli (Ricordi 1973)
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
-Ferdinando Carulli (Ricordi 1973)
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.
Level 3 Repertoire List
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
Student uses more advanced
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
—
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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
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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
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r
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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.
Level 4 Repertoire List
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„
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.)
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
/
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i
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f Minuet guitarist.
m
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It is
is
jj
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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
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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,
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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.
Level 5 Repertoire List
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.
Level 6 Repertoire List
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.
Level 7 Repertoire List
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
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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~#.
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.:.
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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.
Level 8 Repertoire List
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
Student uses more advanced
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: