To be scheduled --
The beginning guitar student entering college with no training in classic guitar is at an extreme disadvantage. The student is at an even more serious disadvantage if they lack music reading skills on the guitar. In order for this student to succeed at the college level, the student must quickly begin the process of correct posture as well as develop the skill to read music on the guitar.
Learning the Classic Guitar 1, 2 and 3 by Aaron Shearer offers this student a firm foundation in proper posture and musical awareness. Without this foundation, the student is destined to fail in subsequent semesters.
It is imperative that this student exhibit diligence in studying the proper technique practices and a rapid absorption of the materials at hand. The student must successfully complete the 1st and 2nd volume of Shearer's books by the end of this 1st semester so that he or she will be adequately prepared to continue study at the next level.
After the requirements of these volumes have been fully met, only then can the student meet the challenge of studying guitar at the college level. Mastery of the material in these 2 volumes is crucial if the student is to have success mastering the etudes and repertoire that are expected in subsequent terms.
By the end of this initial semester, the student will have demonstrated proficiency in the material in the Shearer books. The student will also have memorized at least 8 pieces for performance.
Upon successful completion of the material studied this semester, the student may begin the course of study outlined for each year beginning with the freshman requirements.
Students should at the end of the 1st semester should have at least 8 of these pieces memorized and have a working knowledge of all the etudes required. Working knowledge means being able to read the music with no difficulty with regards to fingering and musical expression.
Students should at the end of the 2nd semester should have at least 8 of these pieces memorized and have a working knowledge of all the etudes required from this term as well as the previous one. All pieces from the previous semester and this must be learned well enough that the student could perform them even if they are not memorized (performed with music in other words).
By the end of this 2nd semester, students should have all the Segovia scales memorized and able to play them at 80-100 bpm using i and m fingers.
The 1st 40 arpeggio studies by Guiliani should be played at a rate of 50-80 bpm.
Students should at the end of the 1st semester should have at least 8 of these pieces memorized and have a working knowledge of all the etudes required.
Students should at the end of the 2nd semester should have at least 8 of these pieces memorized and have a working knowledge of all the etudes required from this term as well as the previous one.
The student should also retain a working knowledge of music from the freshman year especially the etudes.
By the end of this 2nd semester, students should be proficient with the alternative fingerings for the Segovia scales and able to play them at 80 -100 bpm. Using i and m fingers, the student should be approaching 120 bpm.
The 2nd 40 arpeggio studies by Guiliani should be played at a rate of 50-80 bpm.
Learning the Classical Guitar Book 1 and 2 by Aaron Shearer, published by Mel Bay
The Library of Guitar Classics Vol. 1 published by Amsco
A Concise History of Classical Guitar by Graham Wade published by Mel Bay
Additional texts for future repertoire sources – These should be the first additions to your collection.
The Library of Guitar Classics Vol. 2 published by Amsco
Pumping Nylon by Scott Tenant
20 Studies by Fernando Sor edited by Andres Segovia
25 Melodic and Progressive Studies by Mateo Carcassi
25 Etudes Esquisses for Guitar by Gerald Garcia
Collected Works for Solo Guitar by Heitor Villa-Lobos
Graded Repertoire for Guitar Vol. 1 and 2 by StanleyYates
Modern Times Vol. 1-5 distributed by Mel Bay Co.
Freshman Music for Study
Segovia scales, diatonic major and melodic minor using only i and m
Guiliani 120 right hand arpeggios 1-20
Studies 1, 2, 3, 5, 6, 7, 8, 9, 10, 11 by Fernando Sor
Studies 1, 2, 3, 4, 5, 6, 8, 9, 10, 11, 12 by Mateo Carcassi
Studies 1, 2, 3, 4, 5 6, 7, 8, 9, 10 by Leo Brouwer
Lagrima, Adelita by Fransico Tarrega
Pavan 1-6 by Luis Milan
Preludes 1, 2, 3, 4, 5, 6 by Manuel Ponce
Mazurka, Marieta by Fransico Tarrega
Prelude in d minor by J.S. Bach
Guardame las Vacas by Luis Narvaez
Sophomore Music for Study
Segovia scales, diatonic major and melodic minor using alternative fingers i a, m a, i m a m (with rhythmic variety) Chromatic, whole tone and diminished scales.
Guiliani 120 right hand arpeggios 41-80
Studies 13, 14, 15, 17, 18 by Fernando Sor
Studies 13, 14, 15, 16, 17, 18, 19, 20 ,21 by Mateo Carcassi
Studies 1, 6, 8 ,11 by Heitor Villa-Lobos
Capricho Arabe by Fransico Tarrega
Minuet Op. 22 by Fernando Sor
Preludes by Manuel Ponce
Canarios by Gaspar Sanz
Fantasia by Alonzo Mudarra
Melancholy Galliard John Dowland
Prelude 1, 3, 4 by Villa-Lobos
Recuerdos de la Alhambra by Fransico Tarrega
Bouree from the 1st Lute suite by J.S. Bach
Queen Elizabeth's Galliard by John Dowland
Preludes any (4 not previously learned) by Manuel Ponce
Morceaux Caracteristics (2 movements) by Mauro Guiliani
A guitar major should be practicing a minimum of 2 to 3 hours daily in order to progress through the material that is expected of them. 5 to 6 hours a day is not uncommon among truly serious guitar students.
Everyone begins with an "A". Progress through all the requirements of the semester must be observed to maintain your grade. There are no excuses good enough for not coming to lesson or class well prepared. Being unprepared consistently will have serious results on your final grade irregardless of how well you perform in your jury.
Attendance is mandatory since we only meet 13 or 14 times per semester. If two absences occur, your grade for the semester will be lowered by one letter grade from the final grade earned. For each absence after that, your grade will be lowered one more letter grade.