Teacher Manual: Classroom Curriculum

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Teacher Manual
Classroom Curriculum
2014 Austin Classical Guitar
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In this Teacher Manual
Overview of 9 skill levels in GuitarCurriculum.com sequence
Characteristics exhibited by successful students at all stages of advancement
Classroom set-up diagram
Performance checklist for evaluating student performances
Detailed explanation of skill levels with specific sequencing suggestions
Technical Exercises
This document is designed to provide a thorough understanding of the overall musical and
technical goals and the nine levels of advancement upon which the GuitarCurriculum.com
sequence is based. It is essential to develop an understanding of these goals and the framework
of 9 levels in order to most effectively use the repertoire, sight-reading and written exams
supplied through GuitarCurriculum.com.
As you learn about the GuitarCurriculum.com sequence, keep in mind that the repertoire created
for GuitarCurriculum.com is designed both to serve classes with students who are all at the same
level (i.e. most beginning classes) as well as classes with varying levels represented. Nonbeginner students entering a class should be evaluated through audition and should be assigned a
skill level.
The central philosophy of GuitarCurriculum.com is that, at all stages, students should be making
beautiful, expressive music. While level-structure is primarily technical, the goal at every stage
is primarily musical. For this reason, music at all levels contains ample expressive indications.
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Overview of 9 skill levels in GuitarCurriculum.com sequence
Theory/Fundamental
1.
Identify parts of the guitar and

equipment associated
Identify staff, time signature, lines
and spaces
Read open strings on the staff
Read rests and notes half, quarter, eighth
Identify sixteenth
Identify right hand letters/left hand numbers
Technical
Sit in proper playing position including
right and left hand placement
Play single free stroke with p, i & m
with fixed fingers
Play music involving the left hand by
rote only
2.
Read in first position on strings , &
Read accidentals
Read dotted rhythms
Identify key signatures C ,G, and D major
3.
Play G major scale 1st position

Play ima rasgueados with simple
chords (G, G7, Am, Em, E, C, Dm)
Play a 5 note C major scale
Play music involving left hand bass
notes by rote
Continue to play all notes with free
stroke p, i & m fixed fingers
3.
Read in first position on strings , &
Incorporate accidentals, dotted rhythms
all note values
Read sixteenth notes
Alternate i & m
Right Hand string-crossing
4.
Read on strings -

Play a two-octave G major scale

Play a one-octave C major scale
Play a finger in chords
Play block chords using pima
Play one-octave D major scale
5.
Read fluently on all strings in I position
Read multiple rhythmic combinations
Read multiple keys
Sight-read block chords
Finger new pieces
Develop speed in scales and im

alternation
Play simple slurs (one open string note)
Play multi-linear music
6.
Identify all common key signatures
major and minor up to 4 sharps and 3 flats

Play with timed, prepared extensions in

the right hand
Play arpeggios pim, pima
7.
Play arpeggios with alternation pimi,
piai, pimiai (Giuliani RH Studies)
Play ascending/descending slurs with
two fretted notes & trills.
Play using bars in the left hand
Develop speed in scale and arpeggio
playing
8.
Read in II, III, and V positions
Combined Skills, Shifting

Play rest stroke
9.
Play and read in all positions
Intermediate/Advanced Performance
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Characteristics exhibited by successful students at all stages of advancement
A successful student exiting this program at any level will be able to do the following:
1. Identify and/or define basic terms related to classical guitar and music notation
2. Sit with proper guitar position:
a. Place left leg on footstool
b. Lay guitar across left thigh
c. Relax shoulders
d. Raise the head of the guitar to eye level
e. Face guitar straight up and down, not angled back
f. Lay right arm on the edge of the guitar, just in front of elbow
g. Position right hand just behind the sound hole
h. Curve and relax right hand fingers
i. Maintain straight and arched right wrist
j. Place left hand thumb up-and-down, not sideways, on back of neck
k. Straighten left wrist, not bowed in or out
l. Situate left hand so that knuckles are parallel to strings
3. Play with efficient, accurate right hand free strokes from the big knuckle
4. Play with consistent, robust tone
5. Place left hand fingers on tips and just behind frets (avoid buzz)
6. Connect musical phrases (legato)
7. Perform level-appropriate repertoire accurately
8. Observe and execute all dynamic/style indications
9. Sight-read with accurate rhythm, pitches, and dynamics
10. Exhibit proper, efficient rehearsal techniques
11. Display appropriate performance etiquette
12. Identify musical forms, styles, and periods
13. Select repertoire for themselves
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Classroom set up diagram
Part 2
Part 1
Part 3
Conductor
Above is the setup for the guitar classroom. Specifically, this is the
arrangement for a piece in three parts. This is how the classroom will look for most
of the repertoire at all levels of the curriculum. The students are organized just like
an orchestra or choir so that each student can see the conductor and vice versa. It is
important that the teacher/conductor can see and hear every student in the class
individually as he or she will be constantly evaluating each students progress while
on the podium.
In this arrangement, parts can be moved around to different sections with
ease. For the piece shown, part one is to the left of the conductor. However, part
one might be to the right of the conductor in another.
It is also important to note that while the teacher/conductor has a designated
podium or space, he or she will move around the classroom freely and often to help
individuals or listen from different places.
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At every point of assessment from the first weeks to graduation, the students should perform all
exercises, scales, ensemble pieces, and solo pieces meeting each of the following requirements.
YES
A)
B)
C)
D)
E)
F)
G)
H)
I)
1. Playing position
Feet flat on footstool and ground
Guitar neck elevated to 45 angle to the floor
Shoulders are relaxed
Face of guitar is straight up and down, not angled back
Right arm meets the guitar just in front of the elbow
Right hand is situated just behind the rosette
Right wrist is straight and arched (not angled or flat)
Left wrist is flat, not concave or convex
Left thumb is vertical, not sideways on back of neck
A)
B)
C)
D)
E)
F)
G)
2. Right and left hand technique

Right hand im & a move inside hand, not up/away
im & a strokes move in with 3 knuckles, including big knuckle
im & a move through strings at an angle, not perpendicular
im & a contact point on string is close to fingertip
Left hand fingers are always placed on the tips and just behind frets
Left hand palm is always parallel to the neck of guitar
Left hand palm does not touch back of neck
3. Plays with musicality and expressiveness

A) Performs all expressive markings on the page
B) Plays with a consistent, robust tone
C) Connects melodic lines by timing both hands (legato)
D) Performs piece without talking, laughing, excessive movement
NO
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Rehearsal Technique:
Management Through Music
Classroom management can be one of the most challenging aspects of teaching guitar ensemble.
Set specific student expectations and communicate them clearly from day one. Effective
rehearsal techniques that focus on musical expression can alleviate behavior problems before
they begin and lead to a productive, joyful classroom. Below are several suggestions for your
day-to-day rehearsal that can help engage students as well as some solutions for dealing with
problem behaviors.
Musical focus is the key to a happy classroom
Create a hierarchy of importance in your instruction. Sequencing, pacing, technique, and
management are all important parts of teaching guitar effectively, but it is important to
communicate to the students that artistry and expression (aka tone, dynamics, style, ensemble,
articulation) are the priority. Bad technique, unwanted behavior, frustration, poor tone, and
lackluster performances are all incongruent with artistry. By communicating your passion for
beautiful music and focusing on making it via the good stuff, your class will be full of happy
musicians.
Start from scratch each day
Regardless of whether you are teaching a beginning middle school ensemble or an advanced high
school ensemble, begin with a basic stroke focusing on beautiful tone and togetherness. This will
call attention to the fundamental techniques that will make your ensemble sound fantastic and
engage the student with an easy, meaningful task. Create a high standard for student performance
based on a clear aural idea of what the music should sound like and always require that they meet
it.
Choose appropriate repertoire
Often times, music teachers push their students with each new piece trying take leaps in
technique and breadth of repertoire only to find that students are struggling or frustrated. This
can lead to behavior problems and an inability to focus on the good stuff. Choose music that is
easily attainable by every student in your classroom with one or two new elements to attend to.
Focus on expression, character, style, ensemble, articulation etc Remember, you can always
demand more from your students with any piece of music, but it is very hard to push through an
unsuccessful, frustrating experience.
Create an environment of refining
Create an environment where musical mistakes are viewed as opportunities to fix things and
students feel comfortable performing short excerpts individually in front of the class during
rehearsal. We fix the ensemble by fixing individual students. Rehearse small sections of music
and call attention to all of the little things that can be improved such as crescendo, dynamic
contrast, ensemble, and tone. Ask the students to rate these short performances and to articulate
issues and solutions. This keeps students listening intently and focused on the quality of their
playing. Use specific, unemotional, and frequent negative feedback (statements regarding what
needs to be improved) throughout rehearsal. Use emphatic, specific positive feedback only when
the students accomplish their goal.
Listen to individuals and small groups

Many teachers are hesitant to call on individuals or small groups to perform short sections of
music because the experience might upset the student. Communicate to your ensemble that guitar
class is a place where we are supposed to make mistakes. Let them know that you will call on
individuals to play from time to time and this is simply an opportunity to fix something. We fix
an ensemble by fixing individuals. This is also a very effective way to keep students engaged. It
is important to note that we would not want to call upon an individual that we know would not
have a successful performance after the teacher gives feedback and makes a few quick
adjustments. Make a point to know every student. Have an up-to-date list of each individual
student, his or her strengths, needs, and instructors goals for that student. Be tenacious. Do not
move on from an individual or group rehearsal frame without truly fixing the problem and
performing multiple successful repetitions.
Engaging students who are not performing
Provide the class with a task while listening to individuals or small groups. You can have the
other students shadow play their part in the left hand alone while other students play. You can
also give the class a listening task such as: I would like you all to listen to Aaron play measures
1-8 and afterwards, I will ask you to give me one positive statement and one area that needs
improving for his performance.
Autonomy support and choices
Each day, allow the students to make a few decisions about the music. They can make dynamic
or phrasing decisions. An individual can choose her favorite piece to play during the rehearsal.
They can re-title a piece of music based on imagery that the music evokes. It is important to
guide these choices so that they are not distracting or counterproductive. Making choices about
music is a fundamental part of being an artist and something that we want to foster in our
students. Decision-making also gives the students a feeling of volition and personal control over
the learning process, which can lead to motivation and engagement.
Establish contingencies
Everyones teaching style is different and classroom rules vary widely depending on the
environment. But it is important that rules be established, articulated, and reaffirmed each period.
The student has to be aware of the rules and know exactly what will happen if they are broken.
Follow through with unemotional, functional punishment
It is very important to follow through with a punishment that will truly function as punishment
for the individual student. This might take some thought as to why the student is acting out. For
some, being sent out of the room might be exactly what they want. For others, a call home to a
parent might be terrifying. Find a contingency that functions for that student and follow through
without anger or emotional attachment. After the punishment is carried out in a matter-of-fact
manner, shower the student with positive feedback for engaging in productive behaviors. For
example, Its so fantastic how Chelsea is sitting quietly with her strings down while guitar 2
performs.
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Detailed explanation of skill levels with specific sequencing suggestions
Skill Level 1
Objectives: Students will:
Identify all parts of the guitar and associated equipment
Sit in proper playing position including right and left hand position
Identify left hand numbers and right hand letters
Identify and recognize fundamental terms: quarter, half, and eighth notes/ time
signature ledger lines, staff, clef
Read all open strings
Play free stroke with p, i and m fingers using good technique
Play numerous pieces utilizing above skills
Learn pieces involving left hand fingers by rote
Procedure: Students will
Sit in three groups evenly distributed
Identify parts of the guitar
Sit in proper playing position
a. Left foot elevated on footstool
b. Right foot flat on floor
c. Guitar placed on left leg so that neck is 45 to floor
d. Seated with upright posture on front edge of chair
Place right hand in appropriate playing position
a. Place right hand just behind the sound hole
b. Maintain straight and arched right wrist
c. Lay the right arm on the guitar above or just behind the bridge
d. Contact the guitar just in front of the elbow in the right arm
e. Relax the right shoulder
Identify right hand letter names p,i,m,a
Repeat playing position including right hand
Play free stroke p on string : Singles, p and i (see Appendix 1, #1)
a. Use all three joints of thumb
b. Tip of thumb proceeds through string, thumbs rests on outside of i tip joint
Play free stroke i on string : Singles, p and i (see Appendix 1, #1)
a. i moves inside the hand and past the thumb
b. All knuckles move together to push i through string and inside hand
c. The big knuckle pushes inside, it does not pull up
d. i travels diagonally through the string following the line of the arm, it does
not push through the string perpendicularly
Play piece with i on string and p on string by imitation or rote (e.g. Spy Tune
Part 1 or Blue Magic Part 1)
Place left hand in appropriate playing position
a. Place left thumb vertically on the neck close the head
b. Maintain straight and flat left wrist
c. Curve fingers over to the fret board so that the tips touch the strings
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d. Do not touch palm of hand to back of neck
Identify left hand numbers 1,2,3,4
Play On-Off Exercise (See Appendix 1, #3)
Play Shifting Exercise (See Appendix 1, #4)
Play beginning piece with left hand (e.g. Spy Tune Part 2 or Blue Magic Part 2)
Play Guitar part 3 of Level 1 rote pieces (e.g. Spy Tune or Blue Magic)
Learn definition and function of notation on the written page
(As necessary to play each subsequent piece)
Sight-Reading from GuitarCurriculum.com Level 1 sight-reading
Read open G and B strings using quarter note value, then half, then alternating
Play free stroke m finger moving from the big knuckle with a and pinky
Play p, i, m exercises: Singles p, i and m (See Appendix 1, #5)
Read open E string using m
Play pieces and sight-reading using p, i, and m that also include rests
Read open D, A and E string using p only
Play pieces that incorporate all strings, pim, continuing to play left hand by rote
Video Tutorials to Watch:
All Technical Videos 1 3c
*All techniques in Level 1 are discussed in detail in tutorial videos located in the Video
Tutorials section of the GuitarCurriculum.com interface. Find the Video Tutorials section in
the left side bar menu when you are logged in to GuitarCurriculum.com. Many teachers use
videos both for self-study and also to share directly with students.
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Sequence 1/1
Please note: the following are recommendations. Classroom teachers will adjust his or her pacing
to meet the needs of individual students, course length, and frequency of classes per week.
Lesson 1
Students should be able to play something expressively by the end of the first day of
instruction. Assign seating in three sections & introduce guitar anatomy. Students will then
learn set up, practice set up, right hand position, practice right hand position, p (right hand
thumb) & i (right hand index finger) free stroke, practice p & i with an exercise, and play a short
piece with i only, on open strings by rote. This piece is repeated with expressive direction. In
many cases, left hand can also be introduced in the first lesson using an appropriate Level 1 rote
piece.
Video support is available for all techniques, and may be shared directly with students. See
Video Tutorials 1-3 on GuitarCurriculum.com Website.
No extraneous information is needed (e.g. complete notational system, time signature, extra
notes, etc.).
Day 1 concepts communicated include:
Materials guitar, footstool, strings (numbered - starting with as closest to ground).
Anatomy body, neck, head, fret board, strings, sound hole, sound board, tuners, rosette
Sitting/guitar Position Sit up straight, left foot on footstool, guitar 45 to ground on left leg,
right hand positioned over base of sound hole with p on string , i on string , m on String
and a (right hand ring finger) curved in the air alongside of pinky not touching the face of the
guitar! Right arm contacts edge of guitar just in front of elbow. Right hand wrist up so that
plane of the back of the hand is parallel to the plane of the face of the guitar. No lean to pinky or
thumb side so, again, plane of the back of the hand is parallel to the plane of the face of the
guitar. Right hand wrist is straight, not angled down (see additional comments, below).
Right Hand Letters pima for right hand.
Right Hand Strokes p goes straight down through string and comes to rest against tip-joint
of i. Only a small amount of finger is needed under string. i goes through string and travels
inside hand past p. i moves through the string at an angle (diagonally), not perpendicularly,
through the string, thanks to the straight wrist. Play Singles p & i (see appendix 1, #1).
Performance Play Spy Tune Part 1 or Blue Magic Part 1 with i. Learn by rote (imitating
the instructor).
Musical Expression The piece can be repeated with dynamic and speed indications with the
key concepts of crescendo, decrescendo and ritardando. Expressive tags may be used, for
example, slow and soft can be Sad, loud and quick might be Happy, or lengthier descriptors
can be used like plodding through mud, walk in the park, running a race, etc.
Left Hand Sit up straight, guitar neck at 45 degrees to ground, thumb going up and down in
center or upper 1/3 of back of neck. Left Hand knuckles parallel to strings of guitar especially
the pinky side of hand. Place fingers on tips right behind the fret. Left wrist is straight, not bent
in or out.
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Left Hand Numbers - 1234
Performance Play Spy Tune Part 2 or Blue Magic Part 2 with i. Learn by rote.
Lesson 2
Reiterate and practice concepts of set up, quality p & i strokes, quality left position, and tone
from Lesson 1. Review repertoire and add additional repertoire supporting these concepts with
an emphasis on expressivity.
Recommended Repertoire:
Spy Tune or Blue Magic Parts 1-3, Technical Exercises 1-4 (see Appendix 1, #1-4)
*Note: With Levels 1 and 2, all student sections learn all voices of all pieces and then rotate.
Lesson 3
Reiterate and practice concepts of set up, quality i & i strokes, quality left position, and tone
from Lesson 1 & 2. Review repertoire and add additional repertoire supporting these concepts
with an emphasis on expressivity. Discuss performance exam requirements (see Appendix 2).
Spy Tune 1-3, Blue Magic 1-3, Saw Dodge Blues 1 & 3
Technical Exercises 1-4 (see Appendix 1, #1-4)
Lessons 4-5
No new material. Concentration on ensemble performance, different groups playing different
parts of ensemble pieces. Review of technical and expressive concepts, direct wide-ranging
dynamics and tempos clearly. Use plenty of individual or small group performances, review
exam requirements.
Quiz 1/1
Groups perform pieces involving fixed finger p and i strokes and limited use of Left Hand, all by
rote. Students should be directed to perform with:
1) Perfect set up
2) Expressive indications
And will be graded according to the Performance Checklist (See Appendix 2)
Additional Comments:
Week 1 is primarily about positioning and establishing good p and i free stroke. Though
students should be provided notated music for the repertoire and exercises they are asked to do,
they are, at this point, taught by rote so that their primary focus can be on their hands and
connecting the sounds they are making with the motions they are making. Exercises are given to
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apply the right hand and left hand concepts. Have students come to the front of the class to
display good position and have other students comment on what they see.
Right hand set up and basic free strokes common pitfalls*:
1) i pulls up and away from the guitar instead of pushes through the string, past the thumb and
under hand. This is usually a product of the wrist being too far back or too low because if the
wrist is low or back, a finger pushing through will encounter extra strings leading students to
alter their stroke up and away.
2) The right wrist becomes angled down instead of straight allowing the fingers travel
perpendicularly through the strings instead of obliquely (approximately 45 degree angle). The
wrist must be straight and fingers must travel oblique or diagonally through the string. A
straight wrist allows students to create better, fuller sound (with nails, especially) and play with
less tension. One of the main reasons most students angle their wrists is that they unconsciously
seek to minimize resistance to the string by traveling perpendicularly instead of obliquely
through the string. This incorrect impulse is strongest in students who A) try to play too loud
(hard), or, B) are using too much finger under the string, or, C) both. Students should be
reminded to play softly or easily if they show these problems and must be constantly
corrected and reminded.
3) The right wrist of many students will collapse and lay almost flat to the soundboard of the
guitar. It is important that the wrist stay arched to create space for the big-knuckle stroke.
It should be communicated from the outset that first semester exam grades are based largely on
perfection of right hand set up. Tone is extremely important and an indicator of correct right
hand position. Cue the students to execute great tone at all times. The teacher must be able to
model good and bad tone.
*Video Tutorials 1-3 are helpful in illustrating these core concepts both for teachers and
students. See Right Hand Pitfalls, video 2b(3).
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Sequence 1/2
At all times, be sure to spend ample class time reviewing previous concepts and pieces
emphasizing core technical quality and musical expressivity.
New in Sequence 1/2 is the introduction of the m stroke. If the right hand position is well
established and the i stroke is generally understood, then learning the m stroke usually provides
little challenge. Students should be reminded that, thanks to a straight and arched right wrist, i
travels diagonally through the string, past p and under the hand: m does the same but differs in
that a and Pinky (c) move along with m. m can be successfully introduced playing Part 1 of Spy
Tune or Blue Magic substituting m for i.
Watch and share Video Tutorial 3c. m (middle) Stroke.
Students will then begin to read short pieces involving open G, B and E strings with rote left
hand elements. p is placed on string , G, i is placed on string , B, and m is placed on String
, E. Students will learn about the fundamentals of reading including basic rhythm, note value,
the staff, time signature and clef.
This sequence includes the introduction of reading a new piece. Letters, rhythms and notational
concepts, rests, tempo indications, crescendo and decrescendo markings are introduced.
Only introduce terms and concepts necessary to read the pieces they are playing.
New concepts communicated include:
m Stroke Use Singles p, i m (See Appendix 1, Exercise 5). When m is played, be sure that i
and p are fixed on strings and , and that a and pinky move with m three fingers moving
together from the big knuckle inside the hand and past i. m travels diagonally through the string,
past p, and under the hand moving primarily from the big knuckle. For more information see
Video Tutorial 3c. m (middle) Stroke.
Reading G, B & E Concepts of notation and lettering will be applied to the guitar only with G
B and E open strings , and in week Sequence 1/2. It is reasonable to expect that after
reading and saying letters of repertoire pieces and sight-reading exercises, and counting and
clapping rhythms, that students will soon achieve relative fluency reading these notes in quarter
and eighth note rhythms.
Crescendo, Tempo Markings It is extremely important that they be applied in all music and
sight-reading examples also! The use of decrescendo at the end of most pieces of phrases is
particularly effective, most students are able to recognize that getting softer at the end of a piece
of music provides a sense of finality.
Rests Begin assigning sight-reading examples with rests.
Maintain Technical and Musical Focus This is a reminder. Everything taught is cumulative.
It is extremely important in level 1 that students are constantly reminded to keep the right wrist
up, forward, and straight, to keep the finger up and over the strings and curved and relaxed, that
m & i move diagonally through the string, past p, and into the hand, and that only a little bit of
finger is required. Even if the exercise involves reading E, G and B in various simple rhythms,
the instructor must maintain at least half of his or her focus on these important technical issues.
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Students should also be directed to perform beautifully, rhythmically, and with all written
dynamics. These musical directives, rather than making things confusing or overwhelming,
often make the music more interesting and the repetitions less tedious. See Additional
Comments below.
Blue Magic, Saw Dodge, Spy Tune All voices
New: Meditation #1 or Beginnings
Exercises 1-5
Level 1 Sight-reading exercises
Quiz
The written portion of the Quiz 1/2 will precisely resemble the worksheet completed earlier and
involve identification of notational system elements, notes, rhythms, etc. Right and Left Hand ID
can be included as well (pima, 1234) along with guitar anatomy (strings, neck, bridge, frets, etc.).
The performance portion will include group and individual performances of fixed finger p, i and
m repertoire pieces and sight-reading examples, group performances of Exercises 4 and 5 and an
ensemble performance of rote material.
Students should be directed to perform with:
1)
Perfect set up
2)
Expressive indications
And will be graded according to the performance checklist (see Appendix 2)
The primary goal of Sequence 1/2 is to maintain the excellent technical set up accomplished in
week 1 while providing conceptual framework and a small amount of complexity to expand the
students application of their technical abilities. At the same time, the tasks are simple enough
that there is plenty of room for discussion of dynamics, and accurate execution of those
dynamics.
It should be noted that a tremendous amount of repetition of this relatively simple material is
required and there are plenty of ways to make those repetitions interesting for the students, for
example: (instructor has taught class to perform 2 lines of music involving G, B and E open with
quarter and eighth note rhythms and instructor accompaniments. Some students have it, some do
not, the instructor wishes to repeat the 2 lines 20 times and says, for example), Okay everyone
repeat these two lines: forte, piano, slow and loud, fast and furious, slow and thinking only about
your i finger traveling past your thumb, watching your right hand and keeping up and over the
strings, sitting up tall!, line 1 only, line 2 only, section ones only play loud, section twos play
soft, everyone together, etc. (between each repetition there is room for a quick individual
comment or group praise, etc.).
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Sequence 1/3
In this sequence of instruction, students learn to read the remaining open strings, which require
the explanation of ledger lines. Students continue study of basic musical concepts and
incorporate ledger lines for which students will need to count down lines and spaces to
determine note names. Students will be taught quarter note and eighth note rests which will also
be incorporated into repertoire and must be conceptually reinforced with counting and clapping
or tapping.
New concepts:
Open Bass Strings These should be relatively easily acquired. Students can use sight-reading
examples to learn these notes. They should always say these notes while they play them in
groups. Sight-reading examples never stray beyond three adjacent strings allowing students to
set up p, i, and m and execute proper strokes. Sight-reading and repertoire examples contained
on the bass strings (, and ) can be executed entirely with the thumb, now, leaving i and m
fixed on strings and .
Ledger Lines A simple enough concept to introduce. However, this is a perfect opportunity to
underscore the ladder or step arrangement of music. That is: if a note goes up from one line
to the space above it, or one space to the line above it, then it is called one letter higher in the
alphabet. The same is true descending. With this concept, students can figure out the notes of
the ledger lines above or below the staff by counting up or down from the staff with which, at
this point they are familiar. Once again, they will not be able to read any of these notes on the
guitar (except for the open strings and , which they will quickly memorize).
New: Minor Waltz, Night Club, Quanah
Old: Spy Tune, Blue Magic, Meditation no. 1, Beginnings
Exercises 1-5
Sight-Reading
Quiz
The written portion of the Quiz 1/3 will precisely resemble the worksheet completed earlier in
the week and involve identification of notational system elements, notes, rhythms, Right and Left
Hand ID, guitar anatomy, expressive and tempo concepts, rests and ledger lines.
The performance portion will include group and individual performances of fixed finger p, i and
m repertoire pieces and sight-reading examples, group performances of exercise 4 and an
ensemble performance of rote material.
Students should be directed to perform with:
1)
Perfect set up
2)
Expressive indications
And will be graded according to performance checklist
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With the emphasis on counting, clapping and tapping rhythms and saying letters, the division of
the class into three sections can become extremely useful. For example, while section one plays
a sight-reading example, section two can count or say letters, while section three claps or taps.
This is a good time to identify certain students in need of extra attention, talk to them
individually, address their parents, and remind them that the mid-term exam is approaching. If
the students are having serious issues it will almost always be a lack of attention to right-hand
set-up and stroke execution. If this is the case, they must understand that they cannot pass the
mid-term exam unless their i and m strokes go through the string sideways, moving primarily
from the big knuckle, past p and inside the hand because their wrists are high and straight and
their fingers are up and over the strings, curved and relaxed.
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Sequence 1/4
Youre Never Finished with Anything: Creating a Culture of Excellence Through
Refinement
Improving as a musician is a cycle of focused, consistent refinement. Everything we do in the
guitar classroom involves adjusting and fixing student behavior and thinking to consciously
improve the music and ultimately communicate it artfully. Much of the joy in music making
comes from these tiny victories when we ask our students to dig deeper into what they are
doing and they suddenly see that playing something perfectly requires an adjustment. They make
that adjustment, and the music is better. Refining is how we challenge each individual student in
the ensemble regardless of skill level. There is always something to improve. Here are some
suggestions for how to approach refining in the classroom:
1. Know precisely how you want the music to sound. Study the score and play each part.
Listen to recordings and identify all of the small nuances that make this piece exciting. If
you are working on a very small technical task like i stroke with good tone, ask yourself
Could this be improved in any way? the answer is almost always yes.
2. Rehearse very small sections of music and isolate even smaller things to fix. For
example, the initial group performance might be four measures of music and the small
rehearsal goal might be connecting three legato notes within that section.
3. Model exactly how you want the students to perform the small rehearsal goal. Call
attention to the difference between your playing and the students.
4. Have individuals, small groups, and the entire ensemble perform the rehearsal goal
directing them how to improve. Ask students to tell you what needs improvement and
how they will execute the change.
5. Give short, precise, and emotionally unattached negative feedback when the students
need to make adjustments for improvement. Give emphatic specific positive feedback
when they get it right.
6. Be tenacious. Stick with an individual, small group or large ensemble until the issue is
truly fixed. If you have heard many performances and suggested multiple ways to
improve and the students are still not getting better, consider adjusting your goal so that it
is more achievable.
7. Ask for multiple positive repetitions. Students need practice doing things well. Multiple
positive repetitions of the small rehearsal goal will help to ensure that the students will be
able execute the task in the future and to develop positive habits of musicianship.
Video Tutorials to Watch:
Essentials of Teaching with Dr. Robert Duke videos 1-8
Sequence 1/4 will be dedicated to refining your repertoire based on 1) tone, 2) togetherness, and
3) expression. In this sequence, students will be designated a single part on each piece to be
mastered for performance. Students will rehearse in large and small ensembles with a focus on
choosing small portions of music to perfect based the three overarching goals above. When
rehearsing the ensemble, the teacher should isolate individual players, small groups, and the
20
entire ensemble working to create extreme dynamic contrast, rhythmic togetherness, balance
among and between parts, robust tone, and focused performance habits.
New concepts:
Sectional Rehearsal This will be the first time you ask these students to self-govern. Have
students break out into small groups. Provide them with Small Ensemble Practice Log
(Appendix 3). They will rehearse as a small group with focused, small goals. Have the small
groups perform small sections of music for the class and invite comments from the other
students. Emphasize expression, rhythmic accuracy, tone, balance and togetherness both among
and between parts, dramatic dynamic changes, etc. The more specific your directives are in these
sectionals the better. It should be noted that this small ensemble rehearsal utilizes the same
techniques for improving performance as individual practice. Your students should make this
connection and know that this is how they practice all of the time.
Performance Etiquette Absolute silence before playing. Individuals in the trios should wait
before playing, take a moment to think about what they are about to do, position hands precisely
before playing, complete the piece convincingly by staying in character until several seconds
following the last sound, and standing and bowing together at applause. At this level, trios will
begin after the instructors count.
Recommended Repertoire
All Selected Level 1 Repertoire
Quizzes
Quizzes 1/4, 1/5 and 1/6 will focus on the cumulative display of all knowledge and skills to this
point and will reflect the worksheet given to the class at the beginning of the week.
21
Skill Level 2
Students entering skill level 2 should already have mastery of open string reading, be fluent in
reading basic rhythms including whole, half, quarter and eighth notes and rests, and demonstrate
excellent single p, i and m strokes as well as correct left hand set up during performance of rote
material involving the left hand.
All exercises and music at this level, with the exception of the rasgueado/chord playing, will be
played with the right hand fingers assigned to strings as follows: m on , i on and p on .
Objectives: Students will
Read notes in first position on strings , , and with the left hand
Read accidentals
Identify key signatures C major, G major, D major
Play a 5-note C major scale and 1-octave G major scale in first position
Play ima (together) rasgueados with p planted on string to build extensors
Play simple chords formed on strings - (C, G, G7, Am, A, Em, E, Dm)
Read dotted rhythms
Procedure: (Recommended sequencing for Level 2) Students will
Review all setup and pim free stroke
Identify first position natural notes on strings and (E, F, G) (B, C, D)
Play B, C, D using i finger and E, F, G using m finger (Saying left hand finger #)
Play 5-note C major scale using same right hand fingering
Play open string and the new note A with right hand thumb
Sight-read incorporating new notes and left hand
Play rasgueado chords on strings - C, G, G7, Am, Em, E, Dm
Play piece that includes C major harmony, reading left hand, rote bass lines, rasgueado
Identify and play F# on string with m
Play a one octave G major scale on strings - in first position
Play other accidentals
Identify the G major key signature
Play a new piece using G major harmony, G scale, rasgueado chords, bass by rote
Identify the note C# on string
Identify D major key signature
Identify dotted quarter notes
Sight-read in D major with dotted rhythms
Play piece using D major harmony, rasgueado chords, bass by rote, dotted rhythm
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Sequence 2/1
In sequence 2/1 of instruction, students learn to read notes on strings and (B, C, D, E, F and
G). Students will play all string notes with m and all string notes with i. Use worksheet #6
for introduction and study of these notes and where to play them on the guitar. Students learn
and memorize the five-note C major scale and should be encouraged to watch their hands for
accuracy (perform the scale one time watching left hand, then one time watching right hand, etc.)
Sight-reading examples and new repertoire choices should include these new notes and when
learning the new selections students should be encouraged NOT to watch their hands but instead
to keep their eyes on the music.
New concepts:
New Notes on Strings and Students should be told the new notes, asked to play them
one at a time as they are introduced. Notes on fret 1 should be played using the left hand first
finger, notes on fret three should be played using the left hand pinky (4th finger). Students say
and play the notes both from low to high and high to low. It is helpful to point out that the notes
on string (B, C, D) are on the same relative frets as the notes on string (E, F, G). As notes
are introduced students can be encouraged to watch their hands, particularly their left hands, to
be sure they are placing on the tips of their fingers, and immediately behind the fret.
C Scale (Five notes) Once the new notes are introduced, the concept of a scale (as stepwise
motion) can be introduced and the five-note C scale can be taught. Students should be
encouraged to watch one of their hands while performing the scale. They can watch their left
hand to ensure proper placement and accuracy, or their right hand to review proper strokes as
introduced in the first 6 weeks. The scale can form part of the class warm up routine.
Note Reading on Strings and - An important distinction should be made about watching
hands. Students should watch their hands when doing technical practice such as scale playing,
but when reading new music they should watch the music exclusively. They should be
instructed to set up their hands so that the right hand fingers are on the proper strings and the
left hand fingers are near the correct strings and frets. But after set up, their eyes should not
leave the music. Looking back and forth from the page to the hands is poor practice and causes
confusion and slow learning.
Old: One piece carried over from the first six weeks.
New: Neptune Run (Part 1), Ode to Joy (Parts 1 & 2)
Quiz
the week and involve the new notes on Strings and and the C Scale.
The performance portion will include group and individual performances of the new tune and
sight-reading examples on strings and . Use Performance Checklist (Appendix 2).
23
This is the first time the class will have been asked to read material involving both hands. The
whole class should be carefully directed to read one measure of material at a time, say and play,
clap and count, etc. until everyone is comfortable with the notes and rhythms. This is the ideal
time to introduce the idea that practicing small amounts of material with great success is superior
to any other approach.
Preparing the Left Hand for Reading Music
There are a number of various obstacles that a teacher will face when combining the skills of
reading music and playing with a technically proficient left hand. Many teachers jump to the
conclusion that the student is just having trouble reading music when this is usually not the case.
Here are a couple of techniques to better prepare your students to read.
1. Introduce new notes through fixed-finger, single string warm ups.
For example, only teach the notes B, C, and D on string in one sitting. The
student should only use m finger. This simplifies the right hand so that the student
can concentrate on the page.
2. Preface all reading with the execution and repetition of good, open
string, right hand strokes. You dont want to be addressing
tone or execution issues when reading. This cuts down on the
discouragement factor.
3. Take many different approaches to reading the page before playing.
Use techniques like speaking the note names both in and out
of rhythm. Have the student speak the fret or finger numbers
as well. Also have them play the left hand off of the instrument
tapping the appropriate finger to the thumb in rhythm. Have the
student play only left hand on the instrument as well (Shadow Fingering).
*This can be a very frustrating experience for the student and teacher if not approached with
the utmost care. Remember to always sequence these tasks from easiest to hardest and ask for
performances of short sections of music at a time. This can even mean two notes.
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Sequence 2/2
In this sequence of instruction, students learn the note A on string . Students are introduced to
the concept of sharps and are taught to play the G major scale in its entirety across three strings
in first position (p on , i on and m on ). Key Signature and accidentals as well as
pertinent rules are introduced.
New concepts:
Sharps, Key Signature, Accidentals
Old: Ode to Joy (Parts 1 & 2) Neptune Run (Part 1)
Level 2 Pieces only, (drop level 1 piece, optional).
New: Neptune Run (All Parts), Ode to Joy (All Parts), Kasaya, or Battles End
Sight-Reading involving all natural notes on strings - in 1st position.
Quiz
the week and involve sharps, key signatures, etc.
The performance portion will include group and individual performances of all Level 2 pieces
and sight-reading examples on three strings with key signatures and sharps. Use Performance
Checklist (Appendix 2).
In this sequence of instruction, students solidify their reading capabilities on strings and by
reviewing material from the previous week as well as learning new repertoire and sight-reading
new examples that utilize notes on strings , , and . Additional voices can be added to
harmonize the new pieces including rote bass lines.
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Sequence 2/3
New concepts:
Chords and Rasgueado Why chords? While standard chords are not generally taught as part
of core classical guitar curriculum, they are used so frequently in all other styles of guitar playing
that it is important that students are familiarized with them. Knowing basic chords is also an
early step to understanding the concept of harmony and accompaniment. These chords are
mini three string versions of standard chords that will be easily attainable for students
beginning level 2. Why Rasgueado, and how? For the purpose of these early accompaniments,
plant p on string four and simply extend i, m and a together through the strings using the backs of
the fingernails to activate the strings. This alternative to strumming is used because it will not
change the right hand position that has been carefully developed up until this point. Planting p
on string will ensure that only strings - are played.
Dotted Rhythms Be sure to use plenty of sight-reading examples with counting and clapping
in groups, to practice these new rhythms. The new repertoire piece for week eight may also use
these new rhythms.
Old: Ode to Joy, Neptune Run, Kasaya, Battles End
Carry-over from first 6 weeks
2-string, C major, 3-string G major scales
New: Sight-reading with dotted rhythm, El Chinati or Dark Eyes
Quiz
the week and involve dotted rhythms, and review notes on strings -. Use Performance
Checklist (Appendix 2).
It is important to stress the technical concepts introduced in Level 1 even as new material is
introduced. It is equally important to emphasize beautiful and clear playing, and playing with
expressive indications, even in the case of rasgueado accompaniments.
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Sequence 2/4-Week 4
Continued work on all new and old pieces, C and G scales
New piece in D major
Examination of Key Signatures C, G and D, dotted rhythms,
In the tenth week of instruction, students learn their last major repertoire selection of the
semester, which should be in D Major. Though this is not an absolute requirement. With
knowledge of C, G and D it will be easy to demonstrate and teach the principle of the circle of
fifths especially on the sharps side. While students will not be learning to read flats regularly
in the first year, or in keys with more than 3 sharps, the concept is now easily introduced.
New concepts:
D major
Old: Ode to Joy, Neptune Run, El Chinati, Kasaya, Battles End
New: Kemps Jig (Level 2 & 1 Parts), Saltarello (Level 2 Parts)
other Level 2 selections from the Music Library
Quiz
the week and involve key signatures, scales and dotted rhythm.
The performance portion will include group and individual performances of final Level 2 sightreading examples and all repertoire selections. Use Performance Checklist (Appendix 2).
Sequence 2/5
Sequence 2/5 is flexible. Rehearse in large ensemble and in sectionals with designated section
leaders as well as small ensembles. Address individual needs always. Begin to prioritize those
pieces that will be performed at concert. Refine based on tone, togetherness, and expression.
Consider balance and timbre issues as well. Many of the pieces in Level two call for Ponticello
and Tasto playing. Students should be absolutely uniform either in their parts or in the entire
ensemble when changing timbre.
Sequence 2/6
Sequence 2/6 should be strictly devoted to large ensemble rehearsal of pieces in their entirety
with focus on ensemble issues like beginning and ending pieces. Students should be looking at
the conductor much of the time at this point and responding to dynamic conducting cues. Create
the performance situation as closely as possible in the classroom during week twelve. There will
be no written quiz this week.
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The Final Weeks
The main task in the final weeks of the semester is preparation for the public recital. This
means establishing which groups will play which parts and who if anyone will perform in
solo or trio format. This is an opportunity once again for sectional rehearsal and peer evaluation
with room for individual attention where needed. As far as the programs (format, layout,
printing etc.) one fun idea may be to hold a class competition for a line drawing that will become
the cover of this semesters program.
Publicizing the recital is another important task that the whole class should be involved in.
Class members can create posters to place around school, and can brainstorm for ideas about
how to get the word out (school announcements, even local media/TV, the skys the limit!).
Assign duties! Understanding the publicity element of the fine arts world is extremely
important, and this is an excellent opportunity to begin teaching that lesson.
Planning for presentation of the recital is another extremely important task: Ushering, MC,
refreshments, stage management, behavior during concert (especially when NOT on stage). This
may require some parent involvement as well. But it is important that the students understand
that it is their responsibility to make the performance look good, sound good, and run smoothly.
Understanding presentation of the fine arts is extremely important, and this is an excellent
opportunity to begin teaching that lesson. Some groups may opt to share a recital with the choir,
band or orchestra and this is a great way to build the music community in the school and may
help the program to be appropriate length (30-45 min.).
Review the important lessons from the semester. Once the work is largely over, possibly
following the recital, it is important to take time to reflect on what the key elements were. The
main skills go all the way back to the very first week about set up and strokes. This will be very
important for student transfer of knowledge and skills. It will help them to appreciate what they
have learned. Make sure that the performance is video taped so that the students and parents can
both enjoy the experience again and learn from it.
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Skill Level 3
Skill Level 3 concentrates solely on introducing and mastering the technique of Right Hand im
alternation and Right Hand String Crossing. No new rhythms or music theory concepts are
introduced. The sixteenth note is introduced here because it is natural for the player to move
faster when alternating. This important step must be made carefully because in order to alternate
fingers and move the hand across the strings the student must leave behind the fixed finger
positioning which, until now, has formed the basis of their right hand technical stability.
Alternate im with good tone and a relaxed, big knuckle free stroke
String cross keeping the right hand in good position
Read sixteenth notes
Procedure: (Recommended sequencing for skill level 3) Students will
Alternate i and m from the fixed finger position (p on , i on , and m on )
Alternate i and m on string (same string) with p fixed on
Move thumb down to string and alternate im on string (string crossing)
Move thumb to string and alternate im on string
Continue moving the thumb to the next string and alternating on adjacent string
Alternate 5-note C scale and one octave G scale (with sixteenth notes)
Play pieces that incorporate im alternation and string crossing in all parts
What is im alternation? im alternation is the usage of the i (index) and m (Middle) fingers
alternately to play successive notes. Most scalar and melodic playing on the guitar is achieved in
this manner, though at advanced levels of play, fingerings can become much more complicated.
At skill level 3 the goal is to habituate alternation of i and m without losing the quality of stroke
and tone carefully developed during levels 1 and 2.
What is String Crossing? String crossing involves moving the right hand so that it is
positioned ideally over a certain string allowing i and m access to that string without causing the
fingers to reach or contract in order to play. The goal in string crossing is to ensure that, once
again, the quality of stroke never degrades. Loss of stroke quality is a certainty if students are
allowed to reach for strings rather than move the hand and align the fingers properly over the
string.
Imagine playing string four times alternating fingers i and m. Imagine that the music then
requires playing string four times with i and m. In order to play string , the hand must move
from its position over string to be over string . This movement, activated from the right
shoulder and elbow, is called string crossing. Obviously it is much easier to begin string
crossing slowly and carefully. For that reason string crossing will be introduced in the context of
scales and pieces with multiple repeated notes on a single string before crossing up or down to
the next string. By the end of level 3, however, students should be able to string-cross fluidly.
Pitfalls: Most students acquire alternation quite easily. Students can be asked to prepare in their
normal fixed-finger set up with, for example, p on , i on and m on . They can then be
29
instructed to play i on string 10 times and make sure they are moving from the big knuckle,
that i is traveling past p, that they are using only a little bit of finger and that they are going
through the string sideways. At that point they can be asked to remove m from string and
leave only p and i fixed on the strings. Then they can be asked to play i the way you just
practiced it one time, followed by the m finger playing the same string (string ). In effect
switching fingers to play the same string repeatedly. This process, aided by instructor
modeling, is generally easily attained. The goal, of course, is to teach alternation of i and m
without compromising the quality of the strokes in any way.
The trouble begins when it comes time to then play notes on a different string. The most
common problem is that students will not cross at all and instead reach for lower strings. This
is most common in students who have never been asked to string cross in the first place and for
whom the concept is foreign altogether. Assuming that in this class, students will be introduced
to string crossing immediately following im alternation, the most common problem will likely be
crossing from the wrist rather than from the correct joints: elbow and shoulder. Recall that a
basic tenet of good right hand technique is a straight right hand wrist and fingers that pull across
the strings diagonally. Students who cross from the wrist drop their hands to lower strings from
the wrist causing the wrist to bend and causing the fingers to begin pushing through the string
perpendicularly rather than diagonally. This is a serious problem that must be consistently cued.
If students reach for strings either because they are not crossing, or because theyre crossing
only from the wrist, they are no longer positioned over the strings properly to allow them proper
flexion from the big knuckle. This is a serious and common problem, which is extremely
difficult to undo. It is for this reason that all of level 3 is devoted to this subject with no other
material being introduced.
How to Teach im alternation: As mentioned above, im alternation is quickly achieved by most
students, especially if their basic i and m strokes from a fixed-finger position have been
mastered. Every day of Level 3 study should begin in a fixed finger position with instructions
position the right hand properly, push i past p, push through the string diagonally, push through
the strings and not to pull up and away from the guitar, etc. When first introducing alternation,
complete the fixed finger exercise, then: (taken from pitfalls above)
they can be asked to remove m from string and leave only p and i fixed on the
strings. Then they can be asked to play i the way you just practiced it one time,
followed by the m finger playing the same string (string ). In effect switching fingers
to play the same string repeatedly. This process, aided by instructor modeling, is
generally easily adopted. The goal is, of course, to teach alternation of i and m without
compromising the quality of the strokes in any way.
At that point it is a great idea to have them drop their right hands to their sides, reposition their
hands with i on and p on or , and alternate 10 times on string . This whole process of
dropping, replacing and playing can and should be done several times with room in between for
general comments and individual assistance.
30
How to teach String Crossing: If the above method is employed to teach im alternation, then
the result will be im alternation on string with p fixed on string or . The simplest way to
introduce the concept of string crossing is to keep thumb fixed to a lower string. Have the class
perform 4 notes with im alternation on string . Then have them move im down so that the
fingers are poised to play string . p is still set on string or . Alternating between string
(four times), and string (four times) using the stability of p and a straight right wrist to ensure
good crossing is a successful way to introduce the concept. The key elements for success at the
early stages are:
Use p fixed on the adjacent string to ensure proper alignment
Play each string 4 or more times no rapid string crossing
Remind the class of proper stroke direction, wrist alignment, etc.
At first provide extra time for crossing
Once the large cross from string to string is mastered, include string as well and proceed
with Exercise #6. Exercise #6 should form part of the daily warm-up routine for all level 3 and
level 4 study.
Level 3 Scales: The 5-note C and 8-note G scales should be carried over from Level 2 study.
But at level three they should be introduced with im alternation by playing each note four times.
Once both scales are mastered at four times per note, add playing the scales only one time per
note. This is much more difficult because the rate of crossing increases as does the necessity for
perfect coordination between the two hands.
One helpful tool in introducing im alternating scales using one stroke per note is to play the notes
on string one at a time (repeat as needed for refinement), then do the same on string , and
finally combine the two strings. (example for G major scale)
C and G Scales played both 4 times per note, and 1 time per note, should also be used as part of a
daily warm up routine for level 3 and level 4 study.
Perform scales with staccato and legato articulation, with crescendo and decrescendo,
and varying accent.
Level 3 sight-reading: All Level 3 sight-reading is to be completed with im alternation.
Level 3 Repertoire: Repertoire in Level 3 will be larger in scope than that which was
previously introduced. Level 3 melodic voices will be contained on strings - and be
designed to develop im alternation and string crossing while using key signatures, accidentals,
dynamic indications, etc.
Some Level 3 pieces are Level 2 pieces that have different right hand fingering. For example,
Part 1 from Saltarello becomes a Level 3 part when the student alternates im.
31
Sequence 3/1
Basic Alternation/String crossing sequence from above using one-octave G Major scale and short
excerpts from Level 2 melodies
Sequence 3/2
Technical Exercise #6
Level 3 Exercise
Sight-Reading
Intersection or All Wound Up
Sequence 3/3
Daily Scales and Level 3 Exercise
Sight-Reading
Old: Intersection and/or All Wound Up
New: El Noy De La Mare (Level 3 version), Blue Zone, Packingtons Pound or other
Sequence 3/4
Level 3 Exercise
Exercise 6 & 7
Sight-Reading Examples
Continued work on current Level 3 Repertoire
Sequence 3/5
Level 3 Exercise
Exercises 6 and 7
Finish learning/rehearsing 2 Level 3 selections
Sight-Reading
Sequence 3/6
Prep for and administer Mid-term performance Exam
32
Skill Level 4
Skill Level 4 completes the basic technical package for a beginning classical guitarist by
introducing the a finger in the context of block chords, teaching the notes on the remaining 3
strings (-) in first position, and teaching the basic chords in first position. Level 4 begins
with a 2-week intensive approach to reading notes on strings -. At this point, students will
be quite fluent with the notes on strings -, and also with the notational system in general, and
acquiring these new notes quickly is an attainable goal. With introductory knowledge of the new
notes, basic chords, chord theory, right hand pima block chords, repertoire becomes more
complex with melody, accompaniment, and middle/bass voice.
Read all notes in first position including notes on strings , and
Play one octave C and D major scales
Play two octave G major scale
Play block chords using pima
Procedure: (Recommended sequencing for Skill Level 4) Students will
Play all new notes on strings 4-6 using a visual aid
Play a one octave C major scale ascending and descending
Identify D major key signature
Play one octave D scale in first position
Play two octave G scale in first position
Play basic block chords using PIMA
Reading on Strings -: When teaching new notes on strings - instruct the class to use p
only. This eliminates confusion that can arise from trying to learn new notes while at the same
time crossing to the bass strings on the guitar for the first time. The bulk of the learning of these
notes occurs in just two weeks of intensive study. Use a lot of repetition and playing and saying
with the whole class to acquire these new notes. It is helpful to point out that the notes on string
are the same letters, on the same frets as the notes on string . It is also helpful to point out
that both string and have their natural notes on open, fret 2 and fret 3. Early Level 4 sightreading examples focus on one string at a time, while later examples have multiple strings
involved and include accidentals.
Level 4 Scales: As early as the first week, level 4 Scales can be introduced. As in level three
these should be performed 4X per note and 1X per note for the duration of the semester. The 2octave G scale, Complete C scale and D scale should all be introduced. These will form the basis
of daily warm up in Level 4.
Block chords and the a finger: At this stage of development, the addition of the a finger in the
context of block chords will cause little or no difficulty. Instruct that when playing block chords
the hand should close naturally with fingers moving inside the hand and p staying outside, and
that the fingers should, as always, go by the thumb. The biggest challenge will be reading four
notes at one time, one of which will be the P note on string , , or . Go slowly. Use the 1stPosition Chord Chart located in the Scales and Exercises tab on Guitartcurriculum.com. Students
33
can begin to learn full first position chords such as C, Am, Em, G etc. The right hand fingers can
be placed p on the root base note and ima on any three successive strings as desired.
Basic chords: E M/m, A M/m, D M/m, G, C:
Block chords will be written in standard notation sometimes with chord symbols above.
Sequence 4/1
Review Level 3 pieces, im alternation
New Bass Notes with p
Expanded 1st position Scales: C,
Level 4 Sight-Reading Examples
Sequence 4/2
Bass Notes
Add G and D Scales
Level 4 Sight-Reading
Old: Continued Level 3 Repertoire
New: Level 4 Piece of choice (be sure to search various level repertoire such as Hush You Bye)
Sequence 4/3
Block Chords a finger
1st-Position chord chart: have students learn left hand basic position then place right hand fingers
on desired strings utilizing a finger.
Level 4 Sight-Reading
Continued Level 3 and 4 Repertoire
Hush You Bye, Pavana No. 6, Little Cannon.
Sequence 4/4-Week 4
More Block Chords
Sight-Reading
Continued Level 3 and 4 Repertoire
Haydn Romanza, Canarios, etc.
Sequence 4/5
Continue pima
Finish Level 3 and 4 Repertoire all voices
34
Sequence 4/6
Rehearse pieces, sectional rehearsals with individual attention
Preparation for Public Performance

In many cases, the completion of Level 4 marks the end of a school semester. It is important to
schedule a performance as the culminating event for the course. There is no performance exam
scheduled for Sequence Level 4. Instead, many teachers choose to use this concert as the
performance exam. Be sure to record the concert for later analysis and to have record of the
ensembles accomplishments.
35
Skill Level 5
*Note: Students entering skill level 5 will, in most cases, be entering into the IntermediateAdvanced class. Oftentimes, a few students at lower or higher skill levels are placed in these
classes. Therefore, close attention is needed to ensure that each student is appropriately
challenged and not overwhelmed. By and large the class will become more repertoire driven with
the assumption that most students will have established basic set up, technique and reading
trough Level 4. If there is a need for repertoire with varying skill levels, use the custom level
search at the top of the music library. Instructors will be able to distribute level-appropriate sightreading materials. History, Theory and Technique unit can be taught and tested at the teachers
discretion and should be generalized to the point that students at all levels will be able to keep
up.
*Note: An extremely important element for teachers to understand is that students at different
levels will still need to be carefully taught new techniques. For example, Level 5 students learn
Simple Slurs for the first time they will need to be taught this skill carefully. As a result the
teacher must make a decision: should the whole class learn simple slurs (even if there are
students who have learned it already), or should there be sectional work while only the Level 5s
are taught their new skill? Either way is fine as long as they are taught the skill completely, and
understand how and when they will be expected to use it in their pieces and sight-reading
examples. The instructor would not teach simple slurs to the whole class if there are students at
Level 4 or below. Teachers will need to create a semester plan based on their class makeup,
carefully choose their repertoire, and figure out when they will be introducing the skills they
need for each individual group! For this reason we highlight the new skills to be acquired at
each level. Many of the pieces in this curriculum can be played at different levels incorporating
parts that require different skills. So a student may repeat a piece in the second year, but play a
more demanding part.
*Note: It is expected that students will remain at one skill level for longer from levels 5-9.
Through the audition process, teachers will assess what levels are represented in their
Intermediate-Advanced classes each year and plan accordingly. When at all possible, condense
those students in the class into no more than 4 groups, lets take a difficult example: in your class
you have a group of Level 8s, a group of 6s, some 4s and 5s, and a group of remedial students
who somehow got signed up for the class and need basic skills development. It would be best to
condense the 4s and 5s into Level 4 (it wont hurt the 5s to play some Level 4 material) and treat
the remedial students all as Level 1s (assuming thats where the least advanced of them belongs).
In general condense disparate groups downward in skill levels. In this example the teacher
ends up with a class of 8s, 6s, 4s, and 1s not an ideal class at all, but manageable since there are
arrangements that will be made to handle this type of situation.
Most students entering their second year of study should be ready to begin skill Level 5 after a
thorough revue of levels 3 and 4. In order to begin study at skill Level 5 students must have
mastered basic right and left hand positioning and be able to execute im scales with good strokes
and string crossing as well as block chords, and be able to read all notes in first position with
correct rhythms and dynamics.
36
Skill Level 5 is meant to establish fluency on all 6 strings in 1st position, develop scalar speed,
increase understanding of rhythmic complexity, and improve block chord reading and introduce
multiple keys. These above skills will have already been taught in levels 1-4, making the task
really one of refinement and improvement.
New Level 5 Skills:
Simple Slurs- Simple slurs include ascending and descending slurs that use fingers 1-2-3 in the
left hand. Students typically have no trouble with ascending slurs, however, it is important to
note that the left hand finger must strike the string on the tip. Descending slurs can pose a
problem if not approached correctly. In descending slurs, the finger on first note will pull-off
the string in a downward motion to the floor sounding the note behind. It is important to
remember that this motion is a light gesture and there is no need for excess squeezing in the left
hand.
Principles of Fingering- Level 5 students should begin doing their own fingerings. At level 5
this means understanding that i and m should alternate wherever possible but that crossing from a
lower pitched string to a higher pitched string should generally be done i to m and vice versa,
repeating fingers should generally be reserved for spaces between longer notes or at rests, and
where backwards crossing is unavoidable it should be indicated with a "/" between the
fingerings. Above all, Level 5 students must begin writing in their own fingering choices! As
they progress, the instructor needs to be able to suggest Left and Right hand fingerings and have
students habitually write in those suggestions, understand and execute them properly.
Multi-linear music At level 5 multi-linear music involves the addition of the occasional bass
note underneath scale or melodic passages. The main issue there is to be sure, as usual, that
strokes and positioning are maintained with the addition of the thumb. A common problem is
that the thumb will drag the hand back or down causing negative effects on the quality of the
finger strokes. This must be vigorously opposed. One helpful exercise is the Super-Stretcher
Exercise, which involves playing p and i together while progressively increasing the gap between
p and i. Emphasize legato playing, as many students will return the right hand fingers to the
string early for stability, cutting note durations short.
37
Skill Level 6
Arpeggios are an extremely important part of classical guitar playing. As far as new material,
Level 6 is devoted entirely to learning how to perform basic arpeggios well. Level 6 repertoire,
will include plenty of pim and/or pima arpeggios, but will also continue the work from Level 5
with regard to scales, fingering and multi-linear playing. Of particular importance will be the
skills required to change from a musical passage, which is scalar to one which is arpeggiated.
With proper understanding of each element, students should be well-prepared for this challenge.
Since arpeggios are chord-based, some of the repertoire will utilize chord symbols in order to
review and solidify students knowledge of basic guitar chords.
New Level 6 Skills:
pim, pima: pim and pima are the first arpeggios that students will learn. In contrast to the block
chords above, reading arpeggios will be slightly easier while the technical challenges are
considerable and require great care. The main principle is extension timing or the sequential
method by which we extend fingers back to the strings while others flex. Also the student will
become familiar with all key signatures up to 4 sharps and 3 flats.
pim
Fix pim on three strings (, , for example).
Play p.
While leaving p in the air (or resting against the i tip joint), play i.
With both p and i in the air play m but at the same time return p to string !
(At this point, p should be on 4 while i and m are both inside the hand.)
Play p and return both i and m to the strings.
Go to step 3 and repeat.
Step 1:
Step 2:
Step 3:
Step 4:
Step 5:
Step 6:
pima
Step 1:
Step 2:
Step 3:
Step 4:
Step 5:
Step 6:
Step 7:
Fix pima on four strings (, , , for example).

Play p.
With both p and i in the air play m.
With p, i and m in the air play a. but at the same time return p to string !
(At this point, p should be on 4 while i, m and a are inside the hand.)
Play p and return i, m and a to the strings.
Lead the class slowly narrating each step of the extension process. The first Level 6 SightReading examples are all pim with increasing difficulty, and later examples are all pima with
increasing difficulty. Instruct that all sight-reading and Level 4 repertoire be completed with
proper extension timing.
38
Skill Level 7
Skill Level 7 is a real milestone for young guitarists. Many guitarists reach this level after 2
years of study. Students develop fluency with complex arpeggios and learn more advanced
ascending and descending slurs, bars and speed development. Through it all they will be asked
to move fluidly between different techniques at higher speeds.
New Skills:
Arpeggios with alternation: pima, piai, pimami
pimi
Step 1:
Step 2:
Step 3:
Step 4:
Fix pim on three strings (, , for example).

Play p.
With both p and i in the air play m but at the same time return i to string .
(At this point, i should be on 3 while p and m are both up.)
Step 5:
Play i and return p while leaving m (and i) inside the hand.
Step 6:
Play p and return both i and m to the strings.
Step 7:
piai (same as pimi, substitute a on , for m on )
pimami
Step 1:
Step 2:
Step 3:
Step 4:
Step 5:
Step 6:
Step 7:
Step 8:
Step 6:
Fix pima on four strings (, , , for example).

Play p.
With both p and i in the air play m.
With p, i, m in the air, play a and return m only (i will drift out a bit)
Play m and return only i
Play i and return p leaving ima inside the hand.
Play p and return ima to the strings.
More complex Slurs- In Level 7, the student learns more complex descending and ascending
slurs that involve the 4th finger in the left hand as well as 3-note slurs.
Bars Generally students who work at barring are able to achieve consistent, successful bars in
2-4 weeks. Unlike most things on the guitar there is a real strength component to barring, so it
can take a little time. The most important thing to teach is that the left wrist should be remain
flat on and bars, often with just a slight bend in the wrist developing on 5- and 6-string bars.
With 2-4 string bars, the left index finger generally only uses its tip- and mid-joints and the class
should be instructed to maintain an approximate 90-degree angle in the first-finger mid-joint.
39
Skill Level 8
Level 8 repertoire and sight-reading examples focus on reading in 2nd, 5th and 7th positions.
Students must be asked to make fingering decisions, write them down, and submit their parts
upon request. Parts in upper position will stay strictly in that position for maximum familiarity.
Rest stroke Rest Stroke is the right hand technique where a finger travels through a given
string and comes to rest on the next string behind it instead of traveling freely inside the hand
to end in the air. This means that the trajectory of the stroke must be more toward the face of the
guitar. The right wrist is still at the same height and is still straight, but the fingers extend
outward and become straighter. Teach rest stroke as follows:
1)
Explain what rest stroke is (above)
2)
Instruct the class to alternate i and m free stroke on string
3)
Instruct the class to extend i to string without string crossing so that i becomes
a little straighter (in effect, reaching for string !)
4)
Play i 5 times slowly moving the tip of the finger towards the sound board and
through string coming to rest on string .
5)
Repeat step 2-4, but using m
6)
Alternate im rest stroke slowly on string
All of the same principles of string crossing apply to rest stroke as in free stroke, and the same
crossing and scale exercises can and should be performed, on a daily basis. In a nutshell, the
hand is simply set up about two strings behind where it would be for free stroke. It should be
explained and underscored that while rest stroke results in a louder, fuller sound, it does not
require more muscular effort. Rest Stroke is loud, you do not have to make it loud.
40
Skill Level 9
Level 9 students are asked to read at any position on the guitar, and will often be asked to
combine different positions successively. Level 9 students will need to be able to make
independent musical and technical decisions and execute all techniques in combination. While
students who have made it to level 9 are, to be sure, advanced students, there can still be a great
amount of skill to be acquired with regard to tone, speed, accuracy, musicality, stage presence,
etc. Level 9 guitarists should also be class leaders who can lead sectional rehearsals, offer
fingering suggestions, make musical determinations for the class to follow, etc.
41
Appendix 1
Technical (Warm Up) Exercises
1)
Singles, p and i
Fix p on , i on , m on , and a & Pinky curved slightly and inside hand (not on face
of guitar): play p repeatedly in various rhythms that can be modeled, written on the board, or
passed out, repeat with i. Focus on quality of motions.
2)
Singles on the move
Same exercise as above except the hand can move from p fixed on 3 (im on , ) to p
on (im on , ) to p on (im on ,). This is valuable because it requires students
maintain focus on establishing and then reestablishing set up. Give plenty of time to move
between positions.
3)
On-Off Exercise
On string , place and remove left hand fingers 1, 2, 3 and 4 (on frets 1,2,3 and 4
respectively) played with the right hand thumb. Each finger is placed and removed four times in
a row, e.g. 1-0-1-0-1-0-1-0, 2-0-2-0-2-0-2-0, etc. and not 1-0-2-0-3-0-4-0. At least not at first!
Focus on perfect Left Hand position. Play all notes with Right Hand p.
4)
Shifting Exercise
Using any Left Hand finger (1, 2, 3 or 4), play string , fret 1 with p one time. Be sure
that placement of Left Hand finger is on the tip and right behind the fret. Shift the same lefthand finger up to fret 2 and play again. Shift to fret 3, 4, 5, etc. up to any designated fret 5-12
and then back down. Special focus on excellent left hand form and ensuring that left hand thumb
shifts along the back of the neck along with the rest of the hand so there is never any reaching.
5)
Singles, p, i and m (also on the move)
Fix p on , i on , and m on : play p repeatedly in various rhythms that can be
modeled, written on the board, of passed out, repeat with i. Repeat with m. When m is played,
be sure that i and p remain fixed and that a and pinky move with m three fingers moving
together from the big knuckle inside the hand and past i. Focus on quality of motions.
6)
im alternation and simple string crossing
Fix p on , alternate im on string four times, cross to string (p moves to ) and
repeat, cross to string and repeat go backward.
7)
String Walking, i plays on , m on , i on , m on , i on , m on and
backwards.
8)
Super Stretcher Exercise
Play i and p on string and respectively 4 times with i traveling past p. Repeat with
p on , , and , all the while making sure that i travels past p and that the hand stays up
and over string .
9)
Slurring exercise in first position. Fix pima on , , and . Playing p 4 times on
string , execute ascending slur from 0-1, repeat with i on , m on and a on . Begin with
a on performing a descending slur from 1-0, repeating 4 times. Work your way back to string
with m on , i on and p on completing 4 descending slurs on each string. Repeat entire
exercise from 0-2, 0-3, and 0-4 in the left hand on their respective frets.
10)
Progressive Bar exercise: Bar 2 strings in first position and play each string 2 times
listening for clear sound. Repeat with 3, 4, 5 and 6 strings barred.
42
Appendix 2
At every point of assessment from the first weeks to graduation, the students should perform all
exercises, scales, ensemble pieces, and solo pieces meeting each of the following requirements.
YES
A)
B)
C)
D)
E)
F)
G)
H)
I)
1. Playing position
Feet flat on footstool and ground
Guitar neck elevated to 45 angle to the floor
Shoulders are relaxed
Face of guitar is straight up and down, not angled back
Right arm meets the guitar just in front of the elbow
Right hand is situated just behind the rosette
Right wrist is straight and arched (not angled or flat)
Left wrist is flat, not concave or convex
Left thumb is vertical, not sideways on back of neck
A)
B)
C)
D)
E)
F)
G)
2. Right and left hand technique

Right hand im & a move inside hand, not up/away
im & a strokes move in with 3 knuckles, including big knuckle
im & a move through strings at an angle, not perpendicular
im & a contact point on string is close to fingertip
Left hand fingers are always placed on the tips and just behind frets
Left hand palm is always parallel to the neck of guitar
Left hand palm does not touch back of neck
3. Plays with musicality and expressiveness

A) Performs all expressive markings on the page
B) Plays with a consistent, robust tone
C) Connects melodic lines by timing both hands (legato)
D) Performs piece without talking, laughing, excessive movement
NO
43
Appendix 3
Small Ensemble Practice Log

This practice log will require you to organize two different practice plans. It is important to
communicate respectfully to your classmates by using the specific musical language modeled in
class. You will receive grades based on your ability to stay on task while remaining productive
and respectful as a group, as well as the quality of your practice as documented on this log.
Measures of focus (Keep it small): __________
List 2 musical goals
1.
2.
Perform the selected measures as an ensemble. Evaluate your performance by providing
one item of positive feedback and one item of negative feedback.
1.
2.
What did your ensemble do in order to achieve your musical goals and/or improve your
current performance level? (3-5 steps)
Number of times measures are repeated correctly:

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2014 Austin Classical Guitar

2014 Austin Classical Guitar

Identify parts of the guitar and

Play G major scale 1st position

Play a two-octave G major scale

2014 Austin Classical Guitar

Develop speed in scales and im

Play with timed, prepared extensions in

Combined Skills, Shifting

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2. Right and left hand technique

3. Plays with musicality and expressiveness

2014 Austin Classical Guitar

2014 Austin Classical Guitar

Listen to individuals and small groups

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

Preparation for Public Performance

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

Fix pima on four strings (, , , for example).

2014 Austin Classical Guitar

Fix pim on three strings (, , for example).

Fix pima on four strings (, , , for example).

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2014 Austin Classical Guitar

2. Right and left hand technique

3. Plays with musicality and expressiveness

2014 Austin Classical Guitar

Small Ensemble Practice Log

Number of times measures are repeated correctly:

2014 Austin Classical Guitar

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