Guitar Master Class

GUITAR MASTER CLASS Technical Exercises by Famous Guitarists and Teachers Andres Segovia • George Sakellariou • Michael Lorimer Liona B o y d • Carlos Barbosa-Lima • Miguel A b l o n i z Louis Gehring • Philip Rosheger • John Duarte A l i c e A r t z t • Vincenzo Macaluso • Christopher Parkening Charles Postlewate • Lee Ryan • Clare Callahan David Grimes • Peter Segal • Ronald Pureed Christopher Berg • Christopher Amelotte • Ronald Sherrod

Compiled and Edited by Ronald J. Sherrod

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PREFACE Every musician aspires to know and study with a great master. This book, in a small way, allows students of the guitar to become acquainted with twenty-one of the world's famous guitarists and teachers, and gives them the opportunity to practice the same exercises that these masters practice. It will be noted that many of the exercises concentrate on only one detail of guitar performance. The concept of breaking problems into small, isolated units is an important "secret" to the control of the instrument. Also, because of this concentration on a particular problem, many of the exercises appear simple. This is a deception, however. Every exercise in this book, if it is played accurately and cleanly, requires a tremendous amount of skill and dexterity. This book does not discuss basic guitar technique or terminology (sitting position, hand positions, rest stroke, free stroke, etc.). It is assumed that the person using this volume has access to other sources which thoroughly deal with these aspects of guitar playing. I extend my sincere thanks to the guitarists who contributed to this volume. Their cooperation is in the highest spirit of professionalism and of concern for students of the instrument. Ronald J. Sherrod

To Chris and Lonna

Library of Congress Catalogue Card No. 80 53407

© C o p y r i g h t 1 980 by Belwin-Mills Publishing Corp International Copyright Secured

Made m U S A

Melville. N Y 11 747 All Rights Reserved

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CONTENTS Page Introduction

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Andrés Segovia

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George Sakellariou

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Michael Lorimer Liona Boyd Carlos Barbosa-Lima

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Miguel Ablóniz Louis Gehring

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Philip Rosheger

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John Duarte

2 1

Alice Artzt

2 3

Vincenzo Macaluso

2 3

Christopher Parkening

2

Charles Postlewate

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Lee Ryan

3 3

Clare Callahan

3 6

David Grimes

3 2

Peter Segal

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Ronald Purcell

4 1

Christopher Berg

4 3

Christopher Amelotte Ronald Sherrod

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INTRODUCTION Technical exercises should never be viewed without a purpose or without constantly placing emphasis on musical quality. It is, in fact, difficult to separate musical expression from technique since "technique" is simply the control of those elements which bring about musical results. This, then, does not only mean the ability to play the correct notes at the correct time for the correct duration, or those obvious technical elements such as vibrato, apoyando, tirando, ligados, pizzicato, tambora, tremolo, etc., but includes the realms of music such as timbre, dynamics, separating a melody from a bass line, emphasizing the top note of a chord, emphasizing the bottom note or an inside note of a chord, etc. Even something as subtle as the use and control of rubato can be considered a technique to be isolated and worked on as a technical exercise. Technical emphasis is especially valuable in the formative years of guitar study. By progressing through a daily routine of technical exercises the hands are adequately warmed-up and stretched. The physical aspects of guitar playing - strength, endurance, control, flexibility, and security - are systematically approached.(Read the related comments by Alice Artzt and Peter Segal, pp. 23 and 40.) Likewise the mental attributes of good guitar playing and musicianship are developed. These include confidence, patience, and freedom — freedom to concentrate on musical results rather than technical; and freedom to choose pieces based on musical quality rather than on their degree of technical difficulty. This text can be extremely useful to advanced students as well as students with a limited background. A n exercise can be made simple by playing it very slowly or by playing only part of the exercise. Likewise, there is no limit to the difficulty of the exercises. Simply increase the tempo, or as in the case of some of the exercises, extend the range or reach required of the exercise. The following outline of activities is suggested as a daily procedure. It is not intended that all of the exercises be played in their entirety each day, but at least one exercise from each group should be selected. Also, it should be stated that the catagorization of these exercises is by the editor. Other possibilities exist. I.

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S C A L E S A N D ARPEGGIOS Liona Boyd John Duarte (part 1) David Grimes Charles Postlewate (exercises 2, 3 & 6) Peter Segal Andres Segovia Ronald Sherrod

FINGER PLACEMENT Alice Artzt Christopher Berg Liona Boyd Clare Callahan John Duarte (part 2) George Sakellariou Ronald Sherrod

III. C O O R D I N A T I O N O F H A N D S , S T R E T C H , ENDURANCE Alice Artzt Christopher Berg Clare Callahan Vincenzo Macaluso

III C O O R D I N A T I O N O F H A N D S , S T R E T C H , E N D U R A N C E (Cont'd) Philip Rosheger Lee Ryan George Sakellariou Andrés Segovia IV L I G A D O E X E R C I S E S Miguel Abldniz Vincenzo Macaluso (procedures a & c) Christopher Parkening Charles Postlewate (exercises 4 & 5) V. ARTICULATION. DYNAMICS, TIMBRE, PERFORMANCE PRACTICE Christopher Amelotte Carlos Barbosa-Lima John Duarte (part 3) Louis Gehring David Grimes Michael Lorimer Charles Postlewate (exercise 1) Ronald Pureed Lee Ryan Peter Segal Andrés Segovia

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ANDRES SEGOVIA The most renowned guitarist of the century. The standard by which ail guitar technique and performance is evaluated.

Recommended by Andrés Segovia is an exercise originated by the Spanish guitarist Francisco Tárrega (1852-1909). Based on the diminished-seventh chord, it is an excellent study for both the left and right hands. The left hand fingers work independently as they move up and down the fingerboard. The right hand wrist must remain high, and must smoothly fall or rise in order that the fingers maintain a consistent angle with the strings as they cross. Maestro Segovia suggests that this exercise be practiced both apoyando (rest stroke) and tirando (free stroke). Work very slowly with this exercise at first. It is a challenging one to play well.

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As this exercise is refined, a large amount of expression can be added. After working in legato style, try the exercise staccato:

Then, combine legato and staccato:

The entire exercise should be practiced with all the dynamic levels between PP and ff. Also, the control of crescendo and decrescendo is extremely important. As Segovia plays this exercise, his right hand moves toward the bridge as the volume increases and away from the bridge as the volume decreases. This change in timbre compliments and reinforces the change in dynamics.

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GEORGE SAKELLARIOU Graduate of the Hellenikon Conservatory, Athens, Greece. Has performed extensively throughout Europe, South America, the United States and Canada. Currently on music faculty at the San Francisco Conservatory of Music and the University of California, Berkeley.

George Sakellariou states that one of the most difficult aspects of guitar technique is legato playing. It requires perfect coordination between the left and right hands. Mr. Sakellariou offers two exercises to develop this coordination.

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The second exercise consists of the rapid alternation between notes. The speed at which this exercise is practiced depends on the individual, but Mr. Sakellariou states that the notes should be "very quick and without fingernail clicks." Furthermore, he suggests that each finger combination be measured by means of a clock. For example, practice each combination two or three minutes without stopping.

Continue this exercise with all possible combinations: 1- 2 - 3 - 2 2- 3 - 4 - 3 1-2-4-2 1-3-4-3 1-3-2-4 1-4-2-4 1- 4 - 3 - 4 2- 4 - 3 - 4 1-4-3-4-2-4 etc.

The above exercise should also be practiced on strings © @ ® © © creates a different "feel" to which the guitarist must adjust.

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Similarly, move the exercise up the fingerboard. The guitarist must become accustomed to the change in string tension as the move is made to the higher positions. E L 2722

MICHAEL LORIMER Internationally famous virtuoso. Mr. Lorimer is known throughout the world for his artistic performance on the traditional Spanish guitar, his accurate and idiomatic transcriptions as well as for his premieres of new works. His playing of a second instrument, the Baroque guitar, has spearheaded the revival of the historic instrument. Currently Michael Lorimer is on the faculty of the San Francisco Conservatory of Music.

One engaging feature of Michael Lorimer's playing is his expansive use of tone colors. He contributes the following comments about producing timbres with the thumb:

There are eight basic combinations in which the thumb (p) may play with the index (i)t middle (m), and ring (a) fingers. The following chart illustrates the combinations:

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free stroke with nail

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Each combination produces different tone colors. Each one also requires a different balance or position of the hand. Often guitarists use few of the combinations because they have learned only several of the possibilities. Learning all the combinations will greatly develop the potential range of color in your playing and increase the fluency of your right-hand technique. Y o u can learn the first six combinations by practicing this series of chromatic octaves: a m i / m a m i a a i m t a r n m i m i a m a a i a

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Play this exercise fortissimo, very rhythmically and at a moderate tempo. Practice very slowly until you can play each octave with a beautiful tone (fortissimo), in perfect rhythm with a relaxed hand. Adjust your position and stroke until you get a technique that works. Be guided by the feeling of your right-hand, arm and shoulder, not by guitar playing theory - it may be helpful to forget any ideas of "correct right-hand position" you have. You can use the same approach with other etudes using the thumb such as those found in Volume II, pp. 77-85 and Volume III, pp. 61-69 of Emilio Pujol's Escuela Razonada (published by Ricordi, distributed by Belwin-Mills, 16 W. 61st St., New York, N . Y . 10023); pp. 3-35 in Abel Carlevaro's Serie Didáctica, Book 2 (published by Roberto Barry. Buenos Aires, Argentina, distributed by Boosey & Hawkes, 30 W. 57th St., New York, N . Y . 10019); the 120 studies for the right hand by Mauro Giuliani (Celesta, 409 E. 50th St., New York, N . Y . 10022); or some of the etudes (2, 4, 5, 12, 16-19) in Segovia's edition of 20 Sor Studies (Edward B. Marks Music Corp., 136 W. 52nd St., New York. N . Y . 10019). Tremolo studies also provide opportunities to practice different right-hand combinations using the method I've outlined.

It is best to practice the last two combinations (simultaneous rest strokes with thumb and fingers) only on passages where there are broken chords and the thumb plays by itself. The following excerpt from Mateo Carcassi's Opus 60, No. 3 is an example. Andantino

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LIONA BOYD Born in England, but a resident of Canada, Liona Boyd's credits include tours of North, Central, and South America, Europe, and New Zealand; appearances on several television shows including Mike Douglas and the prestigious "Today Show;" and five record albums. The Canadian Music Industry awarded her a Juno Award as "Best Instrumentalist of the Year;" several international composers have dedicated works to her; and she has been invited to play for such distinguished persons as the Prime Minister of Canada, Her Majesty Queen Elizabeth II, the Prime Minister of England and the Chancellor of Germany.

Liona Boyd gives two valuable exercises. Although she identifies one as a left hand and one as a right hand exercise, each is an excellent exercise for the coordination of the two hands. FOR THE LEFT HAND Here is a finger pattern I use. It is written on the first string but should be used on all the strings. It is a good idea to practice it very slowly at first making sure the left hand fingers are all correctly placed. Many different right hand patterns may be used once the left has learned the exercise.

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FOR THE RIGHT HAND Most guitarists find they have problems with their right hand nails wearing down after practicing an hour or two of scales and technical exercises. Many right hand patterns can be practiced using only the three upper strings, thus saving the nails from the wound strings that wear them down. Here is a partial scale that I use for many right hand exercises.

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The preceding scale may be broken into rhythm patterns using various combinations o f the right hand fingers. Rhythm Pattern A i

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Right Hand Combinations (practice rest stroke and free stroke) i-m-a-m m-i-m-a a-m-i-m i-m-i-a m-a-m-i a-i-m-i i-a-i-m m-i-a-i a-i-a-m i-a-m-a m-a-i-a a-m-a-i For rhythm pattern A above, combinations with the thumb may be employed. p-i-m-a p-i-a-m p-m-i-a p-m-a-i p-a-m-i p-a-i-m The scale may be divided into triplets using the given right hand combinations. Rhythm Pattern C 3_

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CARLOS BARBOSA-LIMA Internationally famous guitarist and recording artist. A native of Sao Paulo, Brazil, Carlos Barbosa-Lima gave his concert debut when he was twelve. Since his first U.S. tour in 1967 he has been catapulted to international attention; throughout the world his concerts continually receive the highest critical acclaim. He was praised by Andrés Segovia as "gifted by the goddess of music. " Lately, in addition to his recitals, he has been guest soloist with major American orchestras and has performed in prestigious music festivals in the Americas and Europe.

The following articulation exercise by Carlos Barbosa-Lima requires a great amount of technical and psychological control. If practiced conscientiously, it is tremendously helpful in providing the tools for an infinite number of articulation nuances that the guitarist may explore. Mr. Barbosa-Lima suggests that the rhythm of the exercise be counted first without a guitar. He states, "Begin very slowly, subdividing each beat as the measures are analyzed. The subtleties of rhythm and articulation must first become a mental 'attitude'." (He also states that solo pieces should begin with the same procedure, thus preventing many errors that later would have to be corrected.) When the exercise is finally played on the guitar, Mr. Barbosa-Lima suggests that both hands become aware of the articulation and work in combination to produce it. 1. Play the following melodies using the string and fingering indicated: ©

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2. Repeat the above melodies using different strings and positions. For example:

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MIGUEL ABLONIZ World renowned guitarist, teacher, and music scholar. Maestro Abldniz has published in excess of 350 guitar works, which include more than 80 original compositions in the classical, romantic, and modern idioms, as well as many articles and books relating to guitar technique and performance.

From his text "Essential Exercises For The Left Hand," Miguel Abloniz offers the following exercise and comments for the practice of ascending and descending ligados.* Maestro Abloniz states: This exercise, written here to be played only on the 1st string, should be practiced on every string. The left hand fingering remains unchanged regardless of the string used. As to its key, it is in: A minor when played on the 1st string G minor when played on the 4th string E minor when played on the 2nd string D minor when played on the 5th string C minor when played on the 3rd string A minor when played on the 6 th string The right hand plays apoyando on strings

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alternating all the time two fingers.

The left hand, when practicing on strings © ® @ © @ performs all of the descending ligados apoyando (see comments that follow exercise). In measures 4-8 never lift completely the index finger, but let it slide on the string without depressing it until reaching the new fret (excluding, obviously, the last note of measure 8, which is produced with an open string). Additionally, depress simultaneously the group of underlined notes.

As we exercise the right hand fingers to play apoyando (rest stroke) and non-apoyando (free stroke), I advise to learn to perform the descending ligados on the same string by applying also to the left hand, at will, either of the two systems. The "apoyando" principle used for either hand remains unaltered; only that due to the particular positions of the hands the right hand fingers, after plucking, lean on the adjacent lower-in-sound string whereas the left hand fingers, after playing a descending ligado, lean on the adjacent higher-in-sound string. After all, a descending ligado is produced by temporarily substituting a left hand finger for a right hand one. One of the many advantages of being able to produce the descending ligado on the same string by means of the apoyando principle, a technical process I have thought of using also for the left hand (and I would like to point out that I have never seen it suggested in any of the many "guitar methods" I had occasion to read) is the fact that they thus become as loud as the ascending ligados. . . something which would practically be impossible to achieve if one avoids touching the neighboring higher-in-sound string. Generally, the fingers play apoyando when the string on which they lean is not musically needed. But certainly it is not always necessary or possible for them to do so: for this reason, the manner of playing apoyando (with either hand) will always be left to the discretion of the guitarist. 'Reprinted with the kind permission of Miguel Abldniz and the Berben Publishing Co.

LOUIS GEHRING Guitar studies at Loyola University and Southern Methodist University, and at the Estudio de Arte Guitarristico in Mexico City under the tutelage of Manuel López Ramos. Mr. Gehring is currently Instructor of Guitar at the University of North Carolina at Greensboro. As a full-time member of the artist faculty he has performed extensively in the southern and southeastern United States in solo, chamber, and concerto concerts, as well as numerous television appearances.

Louis Gehring submits a detailed and valuable method for learning pieces. He states, "Each piece will, of course, present its own peculiar problems. However, a method such as described below is a learning structure which can encompass the myriad of variables in classic guitar playing. It is a method which requires discipline on the part of the player, but the result of being able to learn a work with great accuracy (and a minimum of unlearning mistakes, and re-learning corrections) in a surprisingly short amount of time will far outweigh the regimentation needed." Step 1: A N A L Y S I S Divide the piece first into main sections, and then subdivide these sections into phrases. The phrase is the basic musical and expressive unit of any piece, and therefore should also be used as the basic learning unit. Step 2: F I N G E R I N G Mark all of the fingerings for both hands. Since left hand fingering is included in most editions (but should, nonetheless, be carefully examined for possible improvements), this will entail more work on right hand fingering. Careful consideration should be given to finding the easiest possible fingering with the best musical effect. It is important to practice a given passage with the same fingering each time in order to learn more quickly and to produce an accurate, consistent performance. Step 3: P R A C T I C E Begin practice, starting with the first phrase only, carefully avoiding any mistakes. Study should begin by using the metronome set at approximately one half the future performance tempo (this initial speed will depend greatly on the difficulty of the composition). When playing at this speed is mastered with appropriate dynamics, articulations, and timbre, the metronome should be moved up one notch. After this speed is mastered, then one more notch, etc. . When the player has achieved three fourths of the performance tempo, he should go on to the next phrase in the same manner, and so on. After a section has been learned with this method, the whole section should be practiced with three metronome speeds: slow, medium, and fast (the performance tempo). This is the way the section will be studied from now on in order to maintain and perfect it. Step 4: M E M O R I Z A T I O N Using the above method, memorization can quickly take place, again using this phrase by phrase approach. Step 5: P R A C T I C E P H R A S E S O U T O F C O N T E X T After the entire work has been learned thoroughly and memorized, phrases should be practiced out of the context of the piece (this is especially useful for compositions that do not lend themselves to easy division into phrases, e.g., fugal writing). Practice the last phrase of the piece (or of a major section) by memory, then the next to the last, and so on, moving from the end forward. Practice similar phrases together so that there will be no confusion under the pressure of public performance. Step 6: A D D I T I O N A L TECHNIQUES Practice without looking at the fingerboard. Study away from the instrument by mentally recalling all movements of the hands (left hand positions, bar chords, fingerings; and right hand strokes, fingerings, string changes). E L 2722

PHILIP ROSHEGER First American to win the prestigious First Prize in the international guitar competition held annually in Santiago De Compostela, Spain. Mr. Rosheger has toured throughout Spain, Canada, and the United States and has made appearances on American and Canadian radio and television networks (CBS and CBC). He is currently a member of the faculty of the San Francisco Conservatory of Music.

Philip Rosheger has an incredible eight-fret reach (the ability to hold, simultaneously, the first fret of the sixth string and the eighth fret of the first string). To develop spread and strength of the left hand fingers, he suggests a basic exercise of changing the notes of a chord one finger at a time.

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Another variant of the previous exercise is to begin with the fingers placed at intervals of perfect fifths. As above, employ the principle of moving one finger at a time.

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JOHN DUARTE World renowned composer for and teacher of the guitar, music scholar and critic. Highly respected and in constant demand for lectures and workshops throughout the world, John Duarte works untiringly for the betterment of music and the guitar. Articles by Mr. Duarte have appeared in most guitar periodicals of acclaim, and his compositions continue to be performed and recorded by major concert guitarists.

A program of work for developing and disciplining the hands is given in the book "The Guitarist's Hands" (Duarte & Zea, Universal Edition 26926). As supplementary exercises in placing the left-hand fingers Mr. Duarte suggests the following to be played daily:

I. Play scales and/or arpeggios, touching the strings with the left-hand fingers but not depressing them (to give a muffled sound). This fosters placement with accuracy combined with minimal pressure.

2. Play the following exercise slowly at first, then accelerating as security is achieved. (Accuracy is more important than speed.) Do not look at the left hand. The object is to establish the ability to move up and down the fingerboard with sureness. The exercise may be carried out in the usual way or in that described in 1 above.

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3. The following will help to develop legato playing when a shift of left hand position is involved. Two given notes are to be played in different positions with the same finger. As illustrated in example 3a, play the first note thinking of its duration as being an eighth-note (the first half of a quarter-note beat) and, without snatching or anticipating, move to the next note during the eighth-rest of the same beat. When this is smooth and true to the durations shown, repeat the notes treating the first note as a dotted eighth-note and moving (more quickly) during the sixteenth-note rest (example 3b). From this, progress to treating the first note as a double-dotted eighth-note and the rest as that of a thirty-second as in example 3c. This exercise will prepare for the making of shifts as rapidly as possible, without cutting short the first note. It should be repeated using different fingers, strings and positions; there should be no portamento caused by failure to lift the finger(s) clear of the strings before shifting position.

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ALICE ARTZT Internationally acclaimed virtuoso. Ms. Artzt's concert tours have taken her not only throughout Europe and the Americas many times, but also to Africa, the Near East, much of Asia, Australia, Japan and the Far East. Her solo programs include a wide range of styles from early lute music which she studies from the original tablatures, to nineteenth century music for which she has used first edition sources and which she has performed and recorded on an 1858 Torres guitar, to contemporary compositions several of which have been dedicated to her. She has made five LP recordings to date, and teaches in the New York area when not on tour.

Alice Artzt has recently completed a book entitled The Art of Practicing.* From this comprehensive text she contributes a bit of practicing psychology and one of her favorite exercises. Since how one approaches the art of practicing, and what one thinks about while doing it, are a great deal more important than simply how fast and in which ways one moves one's fingers about, the aim of any technical teaching I do has been to emphasize the need for efficiency and precision. One must concentrate from the very beginning on getting every detail prefect when practicing, so that any technical considerations become automatic, as only in this way is one freed to think only of the musical expression when one is performing. This can be accomplished by reducing any problems one has to their simplest possible form, by analyzing the workings of one's own particular set of fingers and figuring out exactly why a given finger is reluctant to perform a certain task, or does so too slowly. Then one must either revise one's position in some way i f this is the cause of the problem, or one must devise numerous personalized exercises to zero in on the particular action of the particular finger in question. One basic problem common to almost everyone is simply that of teaching the fingers of the left hand exactly where on the fingerboard each string and fret is located and how each finger may reach them all with the least expenditure of time and effort. One particular group o f patterns which I find particularly effective in accomplishing this starts with the following exercise. The pattern 1 3 could be played as in examples A or B below. 24 Example A Q _ CD-

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This may then be done with all combinations of fingers: 13 24 31 42 41 14 32 23 12 34 21 43 24, 13,42,31,32, 23,41, 14, 34, 12,43,21 14 41 32 23 12 21 43 34 13 31 42 24 32, 23, 14,41,43,34, 12,21,42,24, 13,31 and may be expanded to cover stretches over several strings as in examples C, D, E , and F .

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Do not move the arm and wrist any more than absolutely necessary, and keep the fingers as close to the fingerboard as possible, for this will make it easier for the fingers to be both more accurate and more efficient in playing any difficult passages one may encounter. (This idea is itself derived from other exercise ideas, can be expanded almost infinitely along the lines outlined in the book, and can itself give birth to other ideas. The only limitations are the player's ability to perceive his own technical problems and his own imagination.) But above all, these or any other exercises should be done only with a very clear goal in mind at all times, and should be done very slowly, very precisely, and very perfectly. If no improvement is sensed after two or, at most, three days of doing an exercise, then either one is not concentrating properly on doing it exactly enough, or one hasn't correctly analyzed the cause of the problem and should try to find another angle from which to approach it. EL 2722

VINCENZO

MACALUSO

Classical guitar virtuoso and recording artist. Artist-In-Residence at Whittier College in California, Mr. Macaluso is America's leading solo concert, orchestra, and recording artist exploring the versatility and greater dynamic range afforded by the 10-string guitar.

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of the most demanding, yet rewarding, technical exercises are those by the famous guitarist Francisco Vincenzo Macaluso especially recommends the following Tarrega exercises. He states that on first exercises may seem to be overly easy, but i f each is played continuously for two or three minutes be of tremendous value in building strength and endurance.

Additionally, all exercises should be played: a. with only the left hand (the right hand is not used) b. using both hands c. striking the first note of each combination and slurring the remaining notes

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CHRISTOPHER

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Internationally famous virtuoso. Christopher Parkening's achievements include six best-selling albums for Angel Records, engagements by every major recital series, and performances as guest soloist with every major symphony orchestra in the United States. Mr. Parkening is head of the guitar department at Montana State University.

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Professor of Music at California State University, Northridge. Ron Pureed is acting president of the American Guitar Society and has been president of the Guitar Foundation of America since it was founded in 1973. He is a frequent lecturer, participant, performer, and organizer of national and international workshops, conventions, and meetings concerning the classic guitar, and has received several outstanding achievement awards.

Ronald Purcell states, "With the vast wealth of technical exercises available to us it is sometimes very difficult to isolate those which teachers, students, and professional guitarists need. The careful selection of technical exercises and pieces form the basis upon which the guitarist develops criteria as to consistency, variety, endurance, flexibility, stability, security and most of all concentration to attain a goal - the goal of producing music." Professor Purcell contributes 1) an outline describing those basic areas which are the foundation of developing technique, 2) a five-step procedure for learning new repertoire, and 3) a comment on maintaining old repertoire. He concludes with instructions on the use of this information.

FUNDAMENTAL TECHNICAL STUDIES 1. Scales — diatonic major and minor, chromatic and diminished. a. scales in 3rds, 6ths, 8ves and lOths. Examples: Opus 1 by Mauro Giuliani. Volumes 2 and 3 of Escuela Razonada De La Guitarra by Emilio Pujol. b. ligado (slur) studies - ascending and descending. Examples: Segovia Slur Studies. The Dionisio Aguado Guitar Method. Volumes 2 and 3 of Escuela Razonada De La Guitarra by Emilio Pujol. c. performance of the above with rhythmic variations. 2. Arpeggios - basic and complicated patterns performed in both fixed and moving positions of the left hand (include full and half barrés). Examples: Op. 1, Opus 83, and Opus 46 by Mauro Giuliani. 3. Exercises which challenge the fingers of both hands. Example: Volumes 3 and 4 of Escuela Razonada De La Guitarra by Emilio Pujol.

L E A R N I N G NEW R E P E R T O I R E I. Read through the music slowly without the guitar. a. Conduct and sing, hum or handclap rhythm (sometimes referred to as eurythmics). b. Analyze form and content. c. Carefully check all fingering.

42

2. Read through the music slowly on the guitar. a. Review fingering again. b. Isolate difficulties and practice. 3. Again, read through slowly. Check dynamics. 4. Memorize. Review form. 5. Perform at tempo from memory. a. Review dynamics and style of work. b. Finalize fingering.

MAINTAINING LEARNED REPERTOIRE Maintaining learned repertoire is essentially the same as learning new repertoire (above), but less time is required except in those areas where changes have been made. It is important to continually read through the music slowly since unconscious changes do occur over a period of time. There are numerous ways to use the above information. For example, any of the old or new repertoire can overlap into "Fundamental Technical Studies" by extracting and making a study of sections which need attention. In some instances a whole piece could be used as a study, as in the case of a Villa-Lobos etude. In "Learning New Repertoire," the instructions to read the music without the guitar is an important concept. Eurythmics gives a musically secure foundation upon which to learn the composition. Also, a great deal of time is saved by the rehearsal of difficult rhythms, the discovery of poor fingering, etc.. The early recognition and reconciliation of these difficult or awkward areas by this method will speed up the learning process, and will eliminate the later "undoing" of wrongly learned material. In "Maintaining Learned Material" I am assuming the pieces were learned correctly. If there are less than ten peices in the repertoire each piece can be covered sufficiently in a week's time using the described procedure. If there are more than ten pieces, the student must pace himself carefully during that period, giving the greatest attention to the less secure portions of each piece. Repertoire is an investment in time (potentially, money in the bank), and will yield a return in artistic recognition, musical satisfaction and eventually support for the profession when the time for performance arrives. Additionally, I advise my students to spend at least 1 0 - 2 0 minutes each day reading new material. Remember, your reading level should be somewhat near your technical ability. For the teacher who is preparing a student for a new study or piece and uses this outline or a variation of it, ask yourself the following questions: 1. Does this work logically follow what the student has learned? 2. Is the student ready for this study or piece? 3. Why am I giving the student this study or piece? The degree to which the teacher is prepared to answer these questions demonstrates the degree of responsibility to his/her students. That is the ultimate basis of any teacher's reputation.

CHRISTOPHER BERG Graduate of the Peabody Conservatory of Music. Guitar studies with Aaron Shearer. First guitarist to receive the Master of Music degree from Peabody. First guitarist to win the MTNA National Guitar Competition (1977). Concerts and concerto appearances throughout the United States. Currently is Assistant Professor of Music at the University of South Carolina.

Christopher Berg states that although many guitarists are aware of the necessity of moving smoothly and accurately from one string to another, rafely has string crossing been the sole focus of a technical exercise. He points out that a common symptom of faulty string crossing is the inability to play scales which cross the strings as rapidly as one can play notes on a single string. To help deal with this problem. Mr. Berg contributes the following comments and exercises: Assuming one has a comfortable right hand position on any given string, try to keep this same position for each string. This is accomplished by the basic technique of moving the forearm from the elbow. Strive to maintain the same wrist and fingerjoint relationship as when playing on a single string. The exercises below should be studied with both free stroke and rest stroke. PRELIMINARY EXERCISES On a single string practice the right hand patterns of i-m. m-a, i-m-a, a-m-i, i-m-a-m, i-a-m-a, and a-i-m-i. The cultivation of these patterns cover every possible string crossing situation. (Although other right hand patterns can be devised, practicing them would be superfluous. For example, the finger movements for m-a-i are the same as for i-m-a. The difference is simply starting the pattern with a different finger.) * 4

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Use rhythm patterns of triplets and sixteenth notes. This will require Dlaying the triplets with the right hand patterns that use an even number of strokes (i-m, m-a, i-m-a-m, i-a-m-a, and a-i-m-i), and will require playing the sixteenth notes with right hand patterns that use an odd number of strokes (i-m-a and a-m-i). Note that the accent should shift from finger to finger.

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CROSSING STRINGS Now practice crossing all six strings ascending and descending with the patterns studied above. It may be helpful to begin practice with i-m and then proceed with the more difficult patterns. Think of crossing as you play the last note on a string. Remember to make a definite movement from the elbow. EL 2722

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TRANSVERSE SCALES When the above can be done as a matter of habit, practice transverse scales (scales that move across the strings) in groups of three and four notes with the above right hand patterns. It is preferable to begin with scales that leave the left hand in one position, (as in example below) but longer scales may be utilized if desired. Make certain that the groups of 3 or 4 are clearly discernible.

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Remember! Practice slowly and carefully to allow the various techniques involved to consolidate. How these exercises are studied is of more importance than what is being studied.

CHRISTOPHER AMELOTTE Guitar soloist, teacher, and co-author of the Christopher Parkening Guitar Method. A graduate of the prestigious University Of Southern California, Mr. Amelotte holds the first degree in classical guitar performance awarded in that school's history. He has traveled extensively throughout the United States as soloist and as representative for the guitar importer Antigua Casa Sherry-Brener of Chicago. Currently Mr. Amelotte resides in San Diego, California where he is active as owner of the International Guitar Shoppe.

Christopher Amelotte s close association with many famous guitarists has given him keen insights into numerous aspects of guitar performance. For this text he contributes some valuable thoughts on the problem of nervousness. This section should not be studied only as performance-time draws near, but should become a part of regular practice habit and attitude. Mr. Amelotte states:

There is a common visitor in the life of most guitarists shortly before performance time. This visitor is hardly • welcome one, as it seems his one goal is their distinction. I speak, of course, of nervousness. My advice is this: BE P R E P A R E D F O R HIS A R R I V A L ! Unfortunately, merely hoping for the absence of nervousness does not provide an adequate defense. Also, some guitarists feel that being nervous is a flaw in their character and are therefore reluctant to recognize their condition. If you are a victim of nervousness (and most guitarists are) then deal with i t The following suggestions have been very helpful to me and my students:

LONG TERM PREPARATION L PRACTICE SECURELY A . Eliminate excessive motion. Maintain close proximity of both hands to the strings. B. Work out every detail of the music. Leave nothing to the imagination. C. If you are making mistakes in practice expect to make them when performing. Don't be surprised.

II. L E A R N TO DROP T H E RIGHT H A N D Nerves tend to contract the hand, giving one the illusion that the strings have been relocated about mA further than where they are supposed to be. If you are used to carefully lowering the fingers to the u . u p i could be disastrous. However, if you let the weight of the right hand "drop" the fingers to the 1 1 i Jftr location of the strings will be more sure.

III. INDUCE P R E S S U R E A. Simulate the physical conditions of performing. What do you feel like when you are nervous? D o shoulders tighten? Then tighten your shoulders. Does your breathing become shallow? Simulate that Do your fingers become stiff? Make your hands tense. Now, what do you do to overcome these Relax your shoulders. Breathe deeply. Etc., etc. E L 2722

B. Simulate environmental performance conditions as much as possible. This includes walking on and off stage, acknowledgement of the audience, quiet surroundings, even a desk lamp in a dark room if you are going to be performing in a spotlight. C. Record your simulated performances. This will both increase pressure as well as provide you with an indication as to how you sound to the ears of the listeners. D. Test your performance on friends and relatives. The shock of performance pressure can be cushioned or eliminated by conditioning yourself through pressure-induced practice performances.

IV. PIECE SELECTION A. Bo a realist. Do not attempt to perform pieces that are above your performance ability. (Understand the difference between technical ability - what you can play in the practice room — and performance ability — what you can play under pressure.) B. If you are playing several works, begin with a secure piece, particularly with regards to the right hand. Be cautious about beginning the program with a new piece. Most performers open their programs with a piece that they have played for some length of time.

SHORT TERM PREPARATION I. R E L A X Place yourself in a relaxed state of mind. Naturally tranquilize yourself to the point of yawning. Caution: Avoid stimulants, as they increase nervousness, and depressants, as they tend to dull the senses.

II. E S T A B L I S H R E F E R E N C E A. Have the grooves of the left-hand fingers established before beginning. B. Get the feel of the right hand on the strings. Drop the right hand; do not lower it. Put the weight of the hand into the strings.

III. M A I N T A I N C O N C E N T R A T I O N A . Avoid mental excursions. Confine all mental activity to the music you are playing. B. Don't let mistakes derail your performance. Worrying or getting angry about an error can only cause more to happen. The above mentioned, by itself, is not a panacea. It must be accompanied with practical application in the form of exposure. Play as often as possible. There is a direct correlation between frequency of exposure and performance comfort. Nervousness is real but it can be encountered and conquered. Preparation, security and experience breeds confidence. And it is through confidence that nervousness is dispelled, allowing us to represent our true ability on the guitar.

RONALD SHERROD Guitar soloist, teacher, and author. Music degrees from UCLA and California State University, San Diego. Also, guitar studies at the San Francisco Conservatory of Music and in Europe. Doctoral studies at the University Of Arizona, Tucson. Currently on the faculty of Grossmont College, San Diego, California.

I offer two groups of exercises to develop fundamental technique. The first is primarily for the left hand, the second primarily for the right, but both are valuable for legato playing and coordination between the hands. FOR THE LEFT HAND Many guitarists have difficulty in placing the left hand fingers exactly on the tips. This causes problems if adjacent strings are intended to sound simultaneously. The following exercises emphasize basic hand position and secure finger placement, and insure that only the tip of each finger is used. Strings ®

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FOR THE RIGHT HAND Playing the E scale in thirds, using only the third and fourth strings, allows many right hand formulas to be practiced while striving to move smoothly along the fingerboard. First, practice the following: (Notice that the fingering is different when the scale is descending.)

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