To be scheduled
Students should at the end of the 1st semester should have at least 7 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 6 of these pieces memorized and have a working knowledge of all the etudes required from this term as well as the previous one. Previous years etudes must be maintained with a working knowledge.
Students also should be proficient with all the major keys and all the modes along the entire fretboard, They should also be proficient with all triad forms major, minor, diminished and augmented in all positions and adjacent string combinations.
All students at this point should have a working knowledge of the entire 20 Sor Studies and the entire 25 Carcassi studies and most of the Villa-Lobos studies. These are essential works in the developing guitarist's technical and musical growth. These pieces provide the necessary technical and musical skills needed for the guitarist to play more advanced works.
The entire 120 Guiliani right hand exercises should at this point be mastered at a reasonable rate of speed (50-80 bpm) to facilitate right hand flexibility.
All the Segovia scales and major scale modes should have strengthened the student's left hand and created greater awareness of fingering possibilities across the fretboard. All scales should be played at a rate of 100-120 bpm with a 16th note subdivision.
Recognition of triad quality and placement also should add to this flexibility and awareness.
While the under-graduate study of the guitar in college comes to an end, the pursuit of excellence does not. Along with this pursuit is an awareness that a vast amount of literature exists and is available to the performing and teaching guitarist.
At the end of each semester, each student should have 5 to 6 of these works ready for performance. This does mean having them all memorized.
Previous year's music must not be forgotten, especially the etudes. Constant review is needed to maintain a performing repertoire and continued growth of technical facility. If the music can not be remembered through memorization, then it must be remembered through music reading. The ability to read music well is something that must be nurtured as it will provide many benefits to a working musician.
To actively grow as a musician and guitarist, what has been done before must never lie dormant.
All Major keys and their modes. All triads (major, minor, augmented, diminished) in all inversions
Guiliani 120 right hand arpeggios 81-120
Studies 12, 18, 19, 20 by Fernando Sor
Studies 22, 23, 24, 25 by Mateo Carcassi
Studies 3,7, 9, 10 by Heitor Villa-Lobos
Variations on a Theme of Mozart by Fernando Sor
Danza Characteristica by Leo Brouwer
Prelude 4 by Heitor Villa-Lobos
Leyenda, Granada by Isaac Albeniz
Prelude, Minuet 1 and 2 from the 1st Cello Suite by J.S. Bach
Pieces Caracteristicas by Federico MorenoTorroba
The 3rd 40 arpeggio studies by Guiliani should be played at a rate of 50-80 bpm.
Rondo Op. 22 by Fernando Sor
Rossinane Op. 119 by Mauro Guiliani
La Catedral by Augustin Barrios
Hommage to Tarrega by Joaquin Turina
Prelude 2, 5 by Heitor Villa-Lobos
Prelude BWV 998 by J.S. Bach
Elogio de la danza by Leo Brouwer
All melodic minor keys and their modes-three notes per string. Chords on all degrees of scale. Chord Voicing Theory for fingerboard and application. Transcribing.
Studies 4, 5, 2 and 12 by Heitor Villa-Lobos
Prelude, Minuet 1 and 2 from the 4th Lute Suite BWV 1006a by J.S. Bach
Fugue from BWV 998 by J.S. Bach
Choros 1 by Heitor Villa-Lobos
Suite Populaire Bresilienne by Heitor Villa-Lobos
Grand Overture Op.61 by Mauro Guiliani
Sonata Op.15 by Mauro Guiliani
Grand Solo Op.14 by Fernando Sor
Suite Compostelana by Frederico Mompou
Omaggio Le Tombeau de Debussy by Manuel de Falla
Nocturnal by Benjamin Britten
Sonata Classica by Manuel Ponce
Sonata in D major by Mario Castelnuevo-Tedesco
Selected works of Brouwer, Barrios, Lauro, Rodrigo, Ponce, Granados, Albeniz, Dodgeson, Berkeley, Tansman, Harris, Martin, Scarlatti, Torroba, Turina, Sainz de la Maza, York, Koskin, Zenamon, Domeniconi, Castelnuovo-Tedesco
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.