A New Guitar Teaching Philosophy

Vol. 18 no.
1 Enero-Abril 2008 33
U n i v e r s i d a d d e Gu a n a j u a t o
A New Guitar Teaching Philosophy
Ice B. Risteski*
INTRODUCTION
A long time ago it was known that mathematicians wanted to nd close connections with music. In one oppor-
tunity Sylvester says: mathematics is music of the mind. This sentence does not have a metaphorical meaning
to compare science and art, but its real intention is to show, how highly music is valued by mathematicians.
Analogously if we continue in this way, it is more appropriate and more natural to feel music as the holiday of
the soul. Also, Sylvester has given one more opinion: May not music is described as the mathematics of sense,
mathematics as the music of reason? The musician feels mathematics; the mathematician thinks music - music
the dream, mathematics the working life.
Great guitar music ows from the heart and the soul. It is very hard to capture that kind of emotion on a
piece of paper or in a textbook. We believe that learning to play the guitar is inseparable from learning to harmo-
nize body, mind, and spirit. There has to be a time when the teacher looks
inward and nds their own voice within. The supreme challenge of playing
the guitar is learning how to unlock that voice and free it for expression.
Sometimes this depends upon rening the technical aspects of the guitar.
Other times, managing the mental and spiritual facets of playing is more
important. In either case, effective learning occurs when the student and
teacher are respectful of each others styles and ambitions. Simplicity and
clarity are sometimes elusive when trying to articulate ideas, but they are
noble attributes which teacher strives for in his teaching.
Keywords:
Classical guitar; Guitar teaching
philosophy.
Palabras clave:
Guitarra clsica; Filosofa de enseanza
de guitarra.
ABSTRACT
In this present work it is given an opinion for a new approach to guitar teaching philoso-
phy in a sufciently sophisticated way, which surpasses up to now all known looks. With
a goal to shed light on this important topic, this work will introduce a new guitar teaching
philosophy on the virtue of musical-aesthetical knowledge of classical guitar music. With
the intention to better understand this approach, emphasis is made throughout the prism
of the guitar experience and from the viewpoint of new needs of classical guitar study.
RESUMEN
El presente artculo intenta dar una opinin para hacer un nuevo acercamiento a la losofa
de la guitarra, de una manera sucientemente sosticada, que supere todas las miradas has-
ta ahora conocidas. Con la idea de sacar a la luz este tema importante, el artculo introducir
una nueva losofa de guitarra en virtud al conocimiento msico-esttico de lo clsico, para
estimar los valores generales de los arreglos musicales. Con la intencin de entender mejor
este acercamiento, el nfasis se hace a travs del prisma de la experiencia de guitarra y desde
el punto de vista de nuevas necesidades para la estudio de la guitarra clsica.
* 2 Milepost Place # 606, Toronto, Ontario, Canada M4H 1C7. E-mail: [email protected].
Recibido: 23 de Abril de 2007
Aceptado: 10 de Diciembre de 2007
What does it mean to teach guitar? It means to systematically instigate students to
play different guitar pieces.
Maestro Antonio Lauro
Vol. 18 no. 1 Enero-Abril 2008

34
Playing the guitar can be a deeply-fullling experi-
ence as well as an equally-frustrating one. The whole
process can teach us many things, not only about mu-
sic, but also about life. For instance, playing the guitar
teaches the values of patience, persistence, and poise,
which translate effectively into other life pursuits.
Learning to play the guitar also enriches our social
life. By this work we wish to inspire guitar teachers to
nd the keys to their own self-expression. Ideally, it
will result in an increase of their satisfaction with the
guitar. The guitar teaching concept presented here is
developed on virtue of the following three levels of gui-
tar teaching: beginner, intermediate and advance. We
believe that offered concept will be benecial in teach-
ing not only amateur guitarists but guitarists aspiring
to have a professional career. Here, we are providing
some statements that may produce some reection
and contemplation. Creative guitar teaching process
is at the core of musical evolution.
Before beginning to discuss this concept, it is good
to point out that here described approach represents an
improved extension of the previous authors research
(Risteski, 2006a) and (Risteski, 2006b), which is com-
pletely different than well-known three level concept of
Manuel Lpez Ramos used many years in his the Es-
tudio de Arte Guitarrstico in Mexico City (Ford, 1999).
Actually, his methodology is founded on virtue of Julio
S. Sagreras approach (Sagreras, 1986a) and (Sagre-
ras, 1986b) and exists today in many guitar schools
through the Mexico and maybe in other South Ameri-
can countries, which really has national meaning.
GUITAR TEACHING PHILOSOPHY
Guitar teaching is only one form of academic activ-
ism. This guitar teaching philosophy presented here
is founded on the virtue of a guitar experience intend-
ed to build guitar development as a consequence of
greater guitar knowledge and better contemporary un-
derstanding of guitar inuence on music as a whole.
It does not represent an old circulus vitiosus (magic
circle), but it will design a new systematic approach
to the development of basic guitar technical skills for
guitar students.
The quote by maestro Lauro reects here offered
guitar teaching philosophy. Finding analogies, activ-
ities and guitar exercises to foster guitar playing is
an enjoyment. For students to acquire musical hab-
its of guitar playing and the necessary guitar culture,
it is indispensable to give them guitar pieces whose
play demands big effort. By means of small pieces, it
is easy to show the students that in classical music
there are many interesting pieces for guitar. This may
favourably inuence their development of systematic,
persistent and independent work. Played pieces of-
ten remain and are revisited many times to be played
again. Sometimes, true joy is experienced during the
successful playing of a more difcult classical piece.
To be a good guitar teacher means to have the
highest expectation for the students. In order to reach
the desired result, a teacher must show his personal
beliefs within a guitar teaching philosophy, which will
evolve through practice. The teaching guitar philoso-
phy considers the teaching of guitar only as one piece
of the students education and personal development.
The most important philosophical experience is the
understanding that it must be effective and integrated
into the daily guitar teaching. Students must have a
desire to pay attention if they wish to learn guitar.
We can think of two primary reasons students pay at-
tention: they are interested in learning guitar theory
as well as the practical playing of necessary guitar
pieces, and they enjoy interacting with the teacher. To
be satised with this, the students need good guitar
pieces. For this purpose guitar book and some mas-
ter pieces are appropriate. Students cannot learn un-
less they understand the learning process. That is to
say, they must believe that learning classical guitar
will benet them. A successful learning guitar process
consists of individual practice, one-to-one lessons,
group learning, playing with CDs, rehearsing as a
duo, trio or quartet, playing with a wide variety of mu-
sicians and instrumentation, communication, reading
music, interpreting, writing scores, style exploration,
self-discovery, theoretical naming systems, ear-train-
ing, guitar care and maintenance, performing, leading
and following and improvising.
All of us have our strengths and weaknesses in all
of above mentioned areas. One of the main goals of
guitar teaching is to locate weaknesses, shine a light
upon them, and bring them into alignment with our
strengths. This can be achieved through a multitude
of learning situations.
Another main purpose of guitar teaching is to en-
courage students to develop their own critical analy-
sis, style and creativity. In the development of the un-
derstanding, there is also the opportunity to increase
guitar skills, which are necessary to use outside the
classroom. The ultimate goal is to allow students to
develop an understanding of guitar concepts and have
the prociency of skills necessary to use the guitar
concepts. Of course there are certain basic concepts
and skills that everyone needs to have. However, even
among these basic concepts, different elements will
be stressed according to the student. For example,
reading music and playing diatonic scales might be
Vol. 18 no. 1 Enero-Abril 2008 35
stressed for a student learning classical guitar. In this
way students can get into playing the guitar music
they want to play as quickly as possible, while using
each new selection as an etude for a new basic concept
or technique. Eventually everyone will come to know
the basics through exploring their own interests, and
at their own pace. In this approach, abstract concepts
are reinforced through playing, playing is facilitated
by greater knowledge, and the fun of learning is re-
tained. As no one has an unlimited amount of time to
practice, we have found this approach to be the best
for the student, as it makes the most out of any prac-
tice time. In guitar lessons, the teacher should try to
maintain a balance between fun and hard work. There
is a lot to learn, but theres no reason it cannot be
fun too. If a student should get stuck on something
between lessons, they are always welcome to contact
their teacher for some extra help. We are happy to g-
ure out any tune a student wants to learn.
Teaching classical guitar is a personal and profes-
sional endeavor for the transfer of knowledge. Teacher
should view the classroom as a laboratory for examin-
ing and re-imagining social relations. Guitar teacher
should provide not only knowledge, but also purpose,
motivation, and direction with continuous evaluation
and attention to the different learning requirements of
different students. This statement is true, because in
the opposite case the students would need only music
books, not teachers.
This offered guitar teaching philosophy is based on
the notion that students learn best in an active and
participatory classroom. Guitar teaching effective-
ness is a continuing developmental process, but for
the teacher it is never a nished product. We believe
that guitar teaching should be invigorating, for both
the teacher and the student. Students should know
what is expected of them from the onset of the class,
whether it is assignments, classroom participation or
grading polices. Guitar teaching as a way of seeing
also requires seeing the guitar from many perspec-
tives as well. It requires challenging the assumptions
of how a teacher recognizes knowledge. The challenge
of excellent guitar teaching is to gure out just what
will reach and bring out the best in a given student
at a given moment. The difculty of doing this is well
worth the effort. In guitar teaching, one tries to take
into account each student as an individual, and the
class as a group, since each gathering has its own per-
sonality. Finally, let the students know that the guitar
teacher enjoys teaching, and they should feel free to
talk to the teacher at any time about guitar theory, a
specic guitar piece, and music in general, or about
any fact of their experience.
Guitar teaching skills are the most specic catego-
ry of teaching behaviors. These are used constantly as
part of the total process of guitar teaching. They are
necessary for procedural purposes and for structuring
appropriate guitar learning experiences for students.
No matter how experienced or how effective a guitar
teacher may be, the development and renement of
these skills and processes is a continual challenge.
A variety of guitar teaching skills and processes ex-
ist. Some are broader than others and more complex
in their nature. Some factors, which may inuence
their selection and application, include guitar student
characteristics, curriculum requirements, and teach-
ing methods. For the purpose of illustrating guitar
teaching skills, two examples follow: explaining and
demonstrating, and questioning.
The guitar teacher spends much classroom time ex-
plaining or demonstrating something to the whole class,
a small group, or an individual. Student resource ma-
terials typically do not provide extensive explanations
of guitar concepts, and students often need a demon-
stration in order to understand procedures. Some ex-
planations are given to help guitar students acquire or
deepen their understanding of a concept, while others
help students understand generalizations. Concerning
the former, the teacher must select an appropriate gui-
tar concept denition and appropriate examples and
nonexamples. An explanation can show:
a cause and guitar effect relationship;
that an action is governed by a rule;
a procedure; or,
the intent of a guitar activity.
Much guitar student learning occurs through ob-
serving others. A guitar demonstration provides the
link between knowing about and being able to do. Gui-
tar research reveals that demonstrations are most ef-
fective when they are accurate, when students are able
to see clearly and understand what is going on, and
when brief explanations and discussion occur during
the demonstration.
Among the guitar teaching skills, questioning holds
a place of prominence in many classrooms. When
questioning is used well:
a high degree of guitar student participation occurs
as questions are widely distributed;
an appropriate mix of low and high level cognitive
guitar questions is used;
guitar student understanding is increased;
guitar student thinking is stimulated, directed, and
extended;

36
guitar feedback and appropriate reinforcement oc-
cur;
guitar students critical thinking abilities are honed;
and,
guitar student creativity is fostered.
Good guitar questions should be carefully planned,
clearly stated, and to the point in order to achieve spe-
cic objectives. Guitar teacher understanding of ques-
tioning technique, wait time, and levels of questions
is essential. Guitar teachers should also understand
that asking and responding to questions is viewed dif-
ferently by different cultures. The guitar teacher must
be sensitive to the cultural needs of the students and
aware of the effects of his or her own cultural per-
spective in questioning. In addition, guitar teachers
should realize that direct questioning might not be
an appropriate technique for all students. The gui-
tar teacher should begin by obtaining the attention of
the students before the question is asked. The ques-
tion should be addressed to the entire class before a
specic guitar student is asked to respond. Calls for
responses should be distributed among volunteers
and non-volunteers, and the guitar teacher should
encourage students to speak to the whole class when
responding. However, the guitar teacher must be sen-
sitive to each students willingness to speak publically
and never put a student on the spot.
Wait time is dened as the pause between asking
the guitar question and soliciting a response. Provid-
ing additional wait time after a guitar student response
also allows all students to reect on the response prior
to further discussion. Increased wait time results in
longer guitar student responses, more appropriate
unsolicited responses, more student questions, and
increased higher order responses. It should be noted
that increased wait time is benecial for guitar stu-
dents who speak. While the need for factual recall or
comprehension must be recognized, guitar teachers
also need to challenge students with higher level ques-
tions requiring analysis, synthesis, or evaluation. All
guitar students need the opportunity to think about
and respond to all levels of questions. Guitar teacher
probes or requests for clarication may be required to
move students to higher levels of thinking and deeper
levels of understanding. Because there are so many
variables for guitar teachers to consider when making
decisions about teaching and learning, it is essential
that they have a conceptual base for understanding
core curriculum and a concept for understanding the
levels of teaching decisions.
Once the students are listening, it is the guitar
teachers responsibility to provide a useful, under-
standable exposition of the guitar pieces. In this re-

spect, the guitar teacher follows two guiding principles.
First, the teacher uses intuition and logic to develop
guitar music theory. Second, the teacher puts himself
in the students shoes in order to overcome pitfalls. A
teacher should always be a student to some degree. A
student can also be a teacher of certain things with-
out even knowing it. A basic component of good gui-
tar teaching understands the pitfalls of the subject.
There is no place in the classroom for an egoistical
teacher who feels the need to emphasize his own gui-
tar mastery. Teachers should be very organized and
all necessary lessons prepared and ready to be built
based on the previous ones. No matter how lucid a
teachers explanation or guitar playing, some students
will not understand a guitar concept on the rst pass.
Regardless of how experienced a teacher is maximum
potential can be fullled only as long as one always re-
mains open to learning new things. The true essence
of creativity, which is the most vital component of any
artistic endeavour, demands by its very nature that
we stay sensitive and vigilant for spontaneous inspira-
tion and new knowledge.
Guitar teaching and performance are two completely
separate skills that are not always mutually inclusive. A
good performer does not mean a good teacher until he has
looked at how he developed his skills and learned how to
teach these skills to others. Often, teachers of university
students are not really clear regarding their expectations
of students. Many university teachers are dealing with
students of varying degrees of ability and motivation. If
this were not enough, they often must teach a variety of
musical styles. Guitar teachears should look on perfor-
mance as a research methodology. Performance offers a
community forum for thinking through complex social,
historical and political issues. They use guitar produc-
tions and literature as an arena for theoretical interven-
tion. Performance helps disrupt conventional power dy-
namics in the classroom and to uncover the often hidden
motivations that guide our actions. Performance studies
foster civic dialogue by emphasizing active participation
and embodied ways of knowing, thus helping bridge the
gap between thinking and doing, theory and practice,
academic and activist concerns.
Effective performance of some selections requires
a little bit of ngerboard gymnastics to execute pas-
sages of pieces. These advanced pieces require the
performer to be musically more sensitive to the style
of each piece. In certain masterpieces guitar students
may nd a different challenge. Some of the technical
difculties include a variety of scale passages and leaps
in the left hand. Musically, these pieces provide a num-
ber of pedagogical concepts to explore. Rapidly evolving
note values will present issues with keeping a steady
tempo. These pieces require a sensitive student.
How nice, then, to discover a book containing
marches and opera works specically written for gui-
tar students, designed to elevate their musical and
technical skills. It is not uncommon for classical gui-
tar students to develop technique through repertoire
study, with each composition providing the impetus
for integrating a new technical component into ones
physical and tonal palette. Also, the guitar book must
provide students with a source of supplemental rep-
ertoire that systematically assists them in expanding
their technical skills while enhancing their musical
and expressive abilities. Technique essentially serves
as a tool to enable the guitarist to express the emotion
of the music. Certain guitar pieces can become a ben-
ecial addition to students repertoire study, offering
a resource for developing and enhancing technique,
ultimately helping them become better musicians.
Students should learn from as many sources as
they can, whether its multiple teachers, books, or any
other methods. Every good guitar spring or some mas-
terpieces are devoted both to teachers and students.
The good guitar collection should be a treasure of the
best classical masterpieces from genres including solo,
orchestra, opera, voice and chamber works. The piec-
es included should be appropriate for settings ranging
from weddings to the concert level, and ranging from
simple to complex. With straightforward, rhythmic
and harmonic schemes, these types of pieces likely
will have an immediate appeal for students.
Each piece must be attractively presented and well
edited. Titles must be followed by the name of com-
poser and ngering must be included for all pieces,
but dynamics and tempo markings may be omitted
with the intention that students choose their own ac-
cording to their own feeling of the music.
The pieces themselves must be thoughtfully chosen
on virtue of both physical and musical challenges. They
represent a wide variety of musical styles and tech-
niques and they must be arranged in approximate lev-
els of difculty. Almost all the pieces must be familiar
to most teachers, but almost everyone must be sure to
nd a few new pieces to add to their teaching repertoire.
The concise transcription of classical pieces delights
every guitarist. Students may return to these sources
again and again to sharpen their technical mastery.
Also, by a book with some famous symphonic selec-
tions (Waldron, 1995), classical guitar students eas-
ily will be engaged by the reective and introspective
character of these works. These pieces abound with
teaching potential, both musical and technical. They
feature many technical challenges found in the clas-
sical masterworks. These pieces could be well suited
to developing or showcasing a diverse and rich tonal
palate. Essential to these pieces is an understanding
of balancing a melody, nding nuance and direction in
melodic lines. The pieces also are ideal for developing
interpretive insights in students and teaching them
how to communicate through their playing. A guitar
teacher views the students grading as a dynamic part
of the learning process. The teacher spends a great
amount of time grading exams, papers and homework
assignments. Students evaluations to learning about
the effectiveness of teaching are key, which must be
viewed as a dynamic process.
Assessment is also an important result of a guitar
teaching philosophy. It is absolutely necessary that
the method of assessment be reective of the philoso-
phy and goals of the guitar teacher. The main goal of
the assessment is to promote understanding, not to
compare students. For that reason, a variety of as-
sessment techniques are preferred, allowing students
every opportunity to demonstrate their understand-
ing. We think that labelling somebody as a good guitar
teacher might imply that he knows everything about
the classical guitar. We feel that while a teacher does
possess a certain degree of prociency with the guitar,
he is humbled so much by the process that he is re-
luctant to claims any sort of mastery over it. There are
many things that teachers do not know about the art
of guitar playing and we think that most of them only
teach what they know from their experiences. Every-
body in life has something to offer and teach to others.
Actually this teaching philosophy is founded on the
virtue of a guitar teaching concept, which roughly will
be developed in the next section.
GUITAR TEACHING CONCEPT
Now we shall speak about what there is a guitar teach-
ing concept, but not in Quines sense of the word, just
only of guitar practical view point (Quine, 1971). The
best guitar teaching for which we seek is a vision of an
exemplary teaching approach of a responsible guitar
teacher. The vision is the driving force that makes us
all believe the best in the worth working for.
The way of guitar teaching depends on a multi-
tude of factors, including course aims and content,
the characteristics of the students, disciplinary
norms, and the requirements of professional groups
and teachers conceptions of what constitutes effec-

38
tive guitar teaching. Guitar teaching should aims at
producing conceptual change and intellectual devel-
opment in students and one of its purposes is to pro-
vide students with the skills and knowledge needed to
function capably as adults. With the world changing
rapidly, the abilities acquired in guitar schools today
need to be reassessed, as to the ways in which stu-
dents are expected to learn. And when the content of
the curriculum changes, ways in which the curriculum
is delivered must change correspondingly.
Knowledge of what constitutes effective guitar
teaching and learning has increased signicantly in re-
cent years. For example, knowledge of the psychology
of student development and learning has become more
sophisticated in its ability to provide an intelligent and
informed context for guitar teaching decision-making.
In addition, knowledge of teaching and learning styles
has led to an appreciation of what constitutes the best
practice in meeting individual student needs. Guitar
teachers recognize, too, that learning is an interactive
process, and that guitar students need to be actively
involved in tasks that are achievable, useful, relevant
and challenging if they are to respond successfully to
the curriculum challenges posed for them.
Above all, however, guitar teachers have learned
that effective teaching occurs when the student is
placed at the focus of decisions that are made not only
about the curriculum itself, but also about the process
by which the curriculum is delivered. Within this con-
text, there is acknowledgement of the need for positive
relationships between guitar teacher and student.
There are many bases upon which this work has
been developed. These include the following consider-
ations that:
effective guitar teaching can be dened and de-
scribed;
guitar teaching is an art as well as a science;
guitar teachers should see themselves as teaching
decision-makers; and,
guitar teachers should view students as autono-
mous students.
Each of the above considerations underscores the
importance of guitar teaching decision-making, partic-
ularly considering the challenges associated with the
delivery of the components of the core curriculum.
Guitar curriculum should nd integration in the class-
room through teaching. It is only after the guitar teacher
has worked through a curriculum with the students for
whom it has been designed that the curriculum can be
said to have been truly implemented. In this sense, the
guitar teacher is the facilitator through which the ele-

ments of guitar curriculum nd expression.
Guitar teaching practice, then, can be improved
through professional development programs that en-
courage guitar teachers to be reective practitioners.
In the professional literature (Bruner, 1966) and
(Gage, 1978) are given the terms teaching and instruc-
tion almost synonymously. For purposes of this concept,
guitar teaching is used as the broader, more encom-
passing term. This follows statement that guitar teach-
ing is an intellectual activity on the part of one person
intended to facilitate learning on the part of another.
For the purposes of this work, guitar teaching refers
to those curriculum-related, professionally-informed
decisions that guitar teachers purposefully enact to
enhance learning opportunities for students. Guitar
effective teaching is interactive and designed to ac-
commodate guitar student learning needs and styles
through a variety of teaching practices.
Guitar effective teaching is guided by general
pedagogical approaches and specic teaching prac-
tices. The approaches and guitar teaching practices
espoused in this work are based upon the following
beliefs about what constitutes effective instruct on.
Professional guitar teaching practice is not con-
strained by a belief that there is one best way. Gui-
tar teachers should be invited to extend their range
of guitar teaching approaches in a secure, risk-taking
environment.
Guitar effective teaching occurs when the guitar
teacher links sound curriculum development and ex-
cellent teaching practice in a successful learning ex-
perience. Reciprocal, positive relationships between
guitar teacher and student are also necessary for
teaching to be truly effective. This means the student
must be viewed as an active participant in the teach-
ing-learning process.
Guitar teaching judgment must be encouraged
and nurtured in classroom professionals so that they
acquire the exibility needed to adapt guitar teaching
practice to meet a wide variety of student needs.
When making guitar teaching decisions, guitar
teachers should consider the content, perspectives,
and processes specied in the curriculum for a re-
quired area of study or a locally determined option,
and the appropriate common essential guitar learn-
ings. Guitar teachers also need to make decisions
regarding adaptation of teaching to meet individual
student learning needs.
Ever changing variables affect guitar teaching de-
cision-making. Guitar teachers are encouraged to ex-
tend their range of teaching approaches based on a
foundation of research, a wide range of practical and
theoretical knowledge, and a regard for students as
active participants in the learning process.
Guitar effective teaching results from a blend of
the art and the science of teaching. The science of
teaching, which has predominated in the past, needs
to achieve a balance with the artistry involved in the
successful guitar teaching act.
Guitar teachers begin the teaching cycle by assess-
ing individual student learning needs, interests, and
strengths through observation and consultation with
the student. They then determine the guitar teaching
approaches required, deliver guitar teaching in a man-
ner appropriate to the students learning abilities and
styles, and evaluate student growth and understand-
ing. The cycle concludes with guitar teacher self-reec-
tion and further guitar teacher-student consultation.
Guitar teaching practice can be improved through
sustained and systematic attention to professional
development. Guitar teachers can improve their own
teaching practices by participating in professional de-
velopment programs or working with peers and super-
visors. These programs must include elements of the
individual reection that this work encourages.
Guitar teachers need to achieve balance between
the two. How often have guitar teachers lamented that
what worked well with one class met with abject fail-
ure with another? How is it that an approach to guitar
teaching, which bores one student, lifts another to the
heights of inspiration? These questions are difcult to
address because they transcend the matter of guitar
teaching technique and dwell more in the realm of what
constitutes the art of effective teaching. Although the
art of guitar teaching is much more elusive than the
science of guitar teaching, there are some elements gui-
tar teachers can capture and describe. Guitar teachers
can discuss these elements and explore them in the
daily act of guitar teaching. Through such discussion
and introspection, enhanced guitar teaching occurs.
Guitar effective teaching merges the art and the sci-
ence of guitar teaching as a compact amalgam. Un-
fortunately, some guitar teachers often respond to the
mystery that is associated with this art by becoming
overly defensive and by keeping their thoughts about
their own teaching to themselves. The complexity as-
sociated with good guitar teaching results in little open
discussion. Good guitar teachers dwell in the mystery
of good guitar teaching until it dwells in them. As they
explore it alone or with others together, the insight and
energy of mystery begins to inform and animate their
guitar work. They discover and develop methods of
guitar teaching that emerge from their own integrity.
Several decades of research and writing spent in
this eld, researchers have recognized both the art
and the science of teaching. Guitar teaching we may
represent as an applied science. However, not all re-
searchers stress the science of teaching to the same
level. For instance, some research states that efforts
to develop a prescriptive science of teaching do not
hold promise. They also argue that no science of
teaching could be so prescriptive as to make teaching
routine, and that the dynamics of the classroom, set-
ting require that the teacher read subtle nuances and
respond creatively to them.
Of interest is to mention the idea, which presents
that there is a scientic basis for the art of teaching.
Given view of teaching is that it is a useful or practical
art, which must be recognized as a process that calls
for intuition, creativity, improvisation and expressive-
ness. There also is provided opinion that in teaching,
where the artistic elements are unquestionable, a sci-
entic base can also be developed. As a consequence
of it, it is very easy to conclude that guitar teaching is
also science.
We may distinguish several areas where the art-
istry in guitar teaching is apparent:
Communication - the ability of the guitar teacher to
initiate and sustain a multitude of personal interac-
tions with students;
perception - the ability of the guitar teacher to pick
up on such things as student attitudes, motives,
and beliefs, and to adapt a lesson appropriately;
cooperation - the ability of the guitar teacher to ne-
gotiate a collaborative and open relationship with
students; and,
appreciation - the ability of the guitar teacher to feel
an intrinsic sense of self-worth from doing a difcult
job well.
Guitar teachers should see themselves as teach-
ing decision-makers. They must have a sound knowl-
edge base of guitar teaching, a repertoire of guitar
teaching practices, and the abilities of reection and
problem-solving.
Research in the areas of guitar teacher effectiveness
and school effectiveness has resulted in a useful infor-
mation base for educators. While research may provide
the guidelines, research is also replete with information
regarding the other aspects of guitar teaching, namely

40
the guitar student and the teaching task. The following
summarizes some of the important characteristics and
attributes that guitar research and experience indicate
ought to exist for optimal learning to occur.
Guitar teachers should:
be caring and positive;
be prepared in their subject content and guitar
teaching practice;
have high expectations for their students;
be aware of and sensitive to the relationships among
teacher, student, and task; and,
provide consistent and constructive feedback to gui-
tar students.
Students should:
be interested in learning about the topic at hand;
see the relevance of the topic at hand;
feel secure about themselves and within the school
environment;
be involved in decisions regarding their own learn-
ing;
be motivated; and,
see the relationship between the guitar teaching ap-
proach and the learning experience.
The guitar teaching task should:
be specic and of a size that is manageable;
be achievable given the ability and interest of the
guitar student;
actively involve the guitar student; and,
be challenging and relevant to the guitar student.
Learning styles and guitar teaching styles are top-
ics that have been the focus of extensive research, and
have direct applicability to teaching approaches. De-
ned simply, learning style is a specic or unique way
a student learns. The particular learning style actu-
ally is an indicator of how a guitar student prefers
to learn, rather than of how well or how much the
guitar student learns. Because of the range of learning
styles in the average class, a guitar teaching method
that is effective for some students may be ineffective
for others. Guitar teachers can foster greater student
academic achievement and decrease discipline prob-
lems when the selection of guitar teaching methods
recognizes learning style variance.
Despite such research ndings, guitar teachers
tend to teach the way they were taught or according to
their own preferences for learning. Most guitar teach-
ers agree that they should become more familiar with
reaming styles and that they could do more to match
teaching with reaming. Teachers should purposely mas-

ter and use a variety of teaching approaches. Teachers
need not always accommodate student preferences.
Students should experience a variety of styles.
Guitar teachers, then, need to recognize the inter-
action among teaching styles, teaching strategies, and
reaming styles. They must view themselves as guitar
teaching decision-makers and partners, along with
their students, in the teaching-reaming experience.
Guitar students should be viewed as autonomous
students who can become aware of their own learning
needs and their own ability to meet them. A fundamen-
tal refrain that echoes throughout this work is that
guitar education should develop autonomous reamers.
Learning how to learn guitar has never been as impor-
tant as it is for guitar students today. Simple statistics
indicate that those soon to assume a place in the work
force will need to retrain several times throughout
their lifetimes. It is important to note that not all post-
graduation reaming needs to be guitar job oriented.
The ability to learn independently will aid students in
all aspects of their lives beyond formal schooling.
In becoming autonomous guitar students, there
are several continua of developmental growth along
which students may progress:
from dependent to independent;
from knowledge and comprehension to synthesis
and evaluation;
from preoperational to formal reasoning; and,
from a closed guitar learning climate to one that is
open.
There are, of course, a variety of ways guitar teach-
ers can help students become autonomous students.
The common guitar essential learnings and indepen-
dent learning in particular, aim to encourage autono-
mous learning and decision-making. Guitar learning
with a wide variety of print, non-print, and human re-
sources encourages the development of research skills
and independent learning skills.
Guitar teachers can encourage autonomous learn-
ing, rst by recognizing the importance of viewing
students as self-directed learners, and second by the
selection of appropriate student-centered teaching ap-
proaches. The selection of these approaches should be
made in consultation with individual guitar students,
so that they become aware of their own learning needs
and ability to meet them. Guitar teacher should also
establish a classroom climate in which students feel
comfortable making their own decisions and reecting
on the consequences.

DEVELOPMENT OF THE TEACHING CONCEPT
The guitar teaching concept presented in this section is
founded on virtue of the following three levels of guitar
teaching: i) beginner, ii) intermediate and iii) advance.
i) The objective of the guitar beginner level is to es-
tablish a strong musical and technical foundation for
future learning. Within this level, there are six categories
that need to be considered: 1 technique, 2 rhythm, 3
practicing, 4 theory, 5 interpretation, 6 performance.
While the role of the guitar teacher is always im-
portant, this level requires the most from the teach-
er. Since it can be assumed that the guitar student
has little knowledge of music, it is important that the
teacher have a clear well-developed methodology de-
signed to present and develop appropriate material in
the previously mentioned categories. The role of the
guitar student at this level is to practice daily and fol-
low the teachers instructions (Duarte, 1975).
In this level, the statements should be clear and
direct. It is important in this level to avoid statements
that force the guitar student to make choices before
he is ready to evaluate the options. Giving the guitar
student too many choices usually confuses the stu-
dent. Yes, there is variation in hand position between
guitar students; yes, there are variations in how the
guitar is held; but at this level, the student does not
need to know this and also does not possess sufcient
knowledge or experience to know what to do with this
information. It is the teachers responsibility to teach
the most appropriate technique to the individual gui-
tar student, and not to allow the student to decide.
1 Technique. The guitar student in this level needs
to acquire good foundation in the following areas: sit-
ting and holding the guitar, basic hand position, es-
tablishment of rest stroke technique, good left hand
technique, free strokes (arpeggios and chords, p i m, p
i m a, p m i, p a m i), basic reading skills (rst position),
learning to listen to himself, appropriate repertoire,
beginning with single-line melody and progressing to
simple music written in two parts or simple bass chord
pieces, and integration and development of rhythmic
skills. This material is covered to varying degrees in all
guitar beginning methods (Aguado, 2004).
Sitting and holding the guitar is an acquired skill.
The guitar teacher needs to correct and reinforce con-
stantly the principles of basic sitting position. No easy
task, particularly when working with teenage stu-
dents, but a good sitting position is the foundation of
a good technique.
The basic hand position, as with the sitting posi-
tion, takes time to develop. It is important to remem-
ber that guitar method books are designed for the av-
erage student. Some students take longer to develop a
hand position than others. It is important not to push
the students repertoire development at the expense of
establishing a good hand position (Pujol, 1986).
The guitar should be of fairly large size, strings
adjusted close to ngerboard, evenly balanced as to
treble and bass and responsive to the lightest touch
of the ngers. The playing position assumed by all
the prominent artists is to sit on a chair of medium
height, placing the left foot on a footstool six to seven
inches in height, and resting the guitar on left thigh in
almost vertical position, with the neck of the instru-
ment slanting slightly upwards. Now hold the neck
in the crotch between the thumb and rst nger of
the left hand near rst fret. The thumb should press
against the neck on the side of the E bass string, and
not project over and above the nger board. Place the
right forearm lightly on top of the widest part of the
guitar and let the hand hang in a relaxed position over
the strings, the thumb near the center of the sound
hole, with the rst joint turned to the left. The right
wrist should be slightly curved upwards and in this
position place the thumb on the A string. Bend the
ngers until they touch the treble strings, rst for G,
second for B and third for E. Hold the wrist well up,
thereby keeping the ngers almost at a right angle
with the strings.
Developing good alternation between the index
and middle ngers is often one of the most neglected
aspects of beginning classical guitar study. It is im-
portant that the guitar teacher provide the necessary
ngering information to develop this technique. For
some guitar students, developing good nger alterna-
tion may be as simple as the teacher pointing out the
odd repeated nger. For others, it may be necessary
that all right-hand ngers be written in the music. As
difcult as this may be for some students, it is far
easier to teach it correctly at this level than to ad-
dress this problem in the more advanced levels. If one
believes that good nger alternation is a necessity for
future growth and musical development, then it must
be learned at this level.
When speaking of right hand technique on previ-
ous occasions, we have repeatedly stressed the neces-
sity of using the third nger as much as possible, in
order to give it strength and exibility equal to that
of the rst and second nger. We all know that when
playing a series of four or ve note chords the top
note of each chord should be heard distinctly, since

42
in most cases it is the melody note and must not be
overshadowed by the other notes of the chord. But
the arrangement of strings on the guitar causes this
note invariably to be played by the third nger of the
right hand, which with most players is the weakest. To
overcome this handicap, it is absolutely necessary to
nd some means of strengthening this nger.
In fact, guitarists of the classic period employed
the third nger only when absolutely necessary. It is
in the music of J. K. Mertz that we nd it used more
extensively, and still more in the compositions of the
modern writers for guitar. But, after all, it is a simple
matter of using certain studies and changing the n-
gering to suit our purpose.
Listening to oneself is one of the more difcult tasks
to teach. We believe that it is never too early to teach
a guitar student to listen and constructively critique
their work. One way is to record the student playing a
piece that he plays well. Have the student listen to the
recording and point out what he is doing well. Ask them
how they practiced to play at such a level. Starting by
critiquing good performances develops condence and
knowledge for the guitar student. This knowledge will
enable them to identify problem areas in pieces more
easily. Another way is to provide the student with a
recording of the piece they are learning. A recording
containing the piece played at several tempos allows
the student to practice with the recording and, while
playing, listen to how they sound.
Remember, even the best method is not perfect.
Some guitar students will need supplementary mate-
rial, others will not. The pace at which a student pro-
gresses at this level is not always an indication of tal-
ent or ability but more of motivation and maturation.
2 Rhythm. Rhythm combined with pitch provides
melody. Pitch without rhythm will not create a good
melody. Guitar beginning students are busy learning
a number of skills. As they strive to master sitting,
hand position, note reading, and ngering, it is not
unusual for them to forget about rhythm. Since much
of the playing they do at this level is solo, it is also
easy for the teacher to overlook minor rhythmic in-
accuracies when many other aspects of the students
playing may be excellent. Remember that this is the
beginner level, and the importance of good rhythmic
training is part of the playing foundation.
How rhythm is taught in the public school music
programs? Students are taught to count the rhythms
out loud and the guitar teacher either counts along or
taps out the beat while the student plays. While there
is often resistance to counting out loud by guitar stu-
dents, weekly reminders by the teacher, as well as the
teacher counting along during the lesson, will quickly
reinforce the importance of this skill. Another way is
to make duet playing a part of each lesson. As soon as
the guitar student has developed the necessary skills to
play simple pieces without stumbling, duets can be in-
troduced. Through duet playing the guitar student will
quickly experience the importance of rhythm in music.
3 Practice. Long time ago Krick said: Practice makes
perfect, it is an old saying, but when we speak of it in
connection with the study of the guitar we should add,
if done with intelligence and if based on tried and cor-
rect methods (Krick, 1941). It is universally conceded
that many hours are wasted daily through mechani-
cal repetition of exercises that could be mastered in
a fraction of the time spent, if the student would use
his head as much as he does his hands. By this we
do not mean that repetition of certain exercises is not
necessary, but before beginning to play look over the
exercise carefully and try to nd out just what you
intend to accomplish by mastering it. In the beginner
level the practice is basic. Since all the pieces or stud-
ies are short, repetition of the piece becomes the basis
for practice (Carlevaro, 2002).
For example you may have realized that the third
nger of the right hand is weak and needs strength-
ening. So for this purpose select the third and fourth
etudes of the Carcassi, Op. 60, (Carcassi, 1994). Both
etudes are in arpeggio form, and most of the high notes
in each measure are to be played with the third nger
of the right hand. Play them over slowly at rst until
the correct right hand ngering is established and the
left hand moves smoothly from one chord to another,
while at the same time placing some emphasis on the
notes played with third nger. You should always be
sure to concentrate on what you are striving for, and
it will not be long before you begin to feel gratied with
the results of these efforts.
Now we admit that every pupil is anxious to play
pieces at the earliest possible moment, but to do the
job well a certain amount of technical drill is indis-
pensable, and even advanced students should allot
about one third of their practice period to technical
exercises and etudes (Carlevaro, 1994).
The left hand ngers must always be trained to
drop onto the frets in the proper manner; a thorough
knowledge of the entire nger board must be acquired
gradually; and nothing is better for this purpose than
the playing of scales. Passages of scales in thirds,
sixths, octaves and tenths are apt to occur in almost
every guitar composition, and to be prepared for them
the student should pay particular attention to this
phase of technique.
The playing of chords requires a great deal of
thought and study, and both hands must be watched
carefully in order to produce a round full tone. The
greatest difculty in the beginning is to bring out
clearly every note of the chord. It often happens that
a nger of the left hand resting on a certain string
will accidentally touch the one next to it and thereby
mufe the tone of that string as the strings on the gui-
tar are close together.
To correct this fault a guitar student should be for-
ever on the alert, listen attentively for every note of the
chord and see to it that the offending nger is placed
in its proper position. One of the best exercises for the
playing of the chords is to practice them rst in the
form of arpeggios - that is to play consecutively the
group of notes of which the chord consists.
4 Theory. Theory is another often overlooked part
of beginner teaching. The pieces are short, not partic-
ularly complicated technically or musically - why does
the student need to know theory? We feel that what
we teach in the beginner level lays the foundation for
what is to come. The sooner the student sees the rela-
tionship between music and theory, the better he will
play. The guitar teacher would introduce theory when
the student begins to feel comfortable with the basic
technical skills. Once the guitar student feels comfort-
able with the instrument, it is easy to introduce basic
scale construction. This does not have to be a high
level theory course, but a simple discussion of scale
construction and how scales are used in melodies. If
the material taught is functional and frequently rein-
forced, the guitar student will feel as comfortable with
the theory as with the playing (Christiansen, 2005).
It is also not too early to begin to get the guitar stu-
dent to sing. Singing the melodies that they are play-
ing on guitar will begin to develop their ear and more
importantly begin to train them to hear how they want
a piece to sound (Bosman, 1991).
5 Interpretation. The beginner level is also an ex-
cellent place to begin to discuss interpretation. The
music is simple in nature, with clearly dened phras-
es and sections. When guitar students begin to think
musically at this level, we think that their playing
improves dramatically. Since the phrase is one of the
foundations of music, it should be taught in the be-
ginner level. It is also easy to teach simple and
forms since they are used for most of the music played
in this level.
6 Performance. It is never too early to learn to per-
form. Guitar teachers often think that a student must
be playing for several years before performance should
be considered. Since performance is as much a skill as
note reading, it is important to develop it at the same
pace and time as the other basic skills are being devel-
oped. In developing this skill, we must remember that
performance in the beginner level must provide posi-
tive reinforcement for the student. The guitar student
must always be well prepared to perform. He should
possess the necessary technical control to execute the
pieces with few errors. Initial performances should
be informal, either for several other students or par-
ents and friends of the student. The pieces should be
short - one to three minutes in length; and the student
needs to feel completely condent with what he will
perform (Carlevaro, 1988).
The performance should be discussed at the les-
son immediately following the performance. It is im-
portant that both the positive and negative aspects be
discussed. Discussing only one aspect of a performance
presents a distorted picture to the guitar student.
Also, discuss how to use what the student has learned
through performance to improve the playing. Perform-
ing is a skill that takes time to acquire and will have
its ups and downs. A well-prepared student can have a
poor performance, but it is the teachers responsibility
to put the performance in the proper perspective.
ii) In the intermediate level, the guitar student
develops the skills that will allow him to reach full
musical potential. In this level, the guitar students
begin to assume a greater role in learning and more
responsibility for their own growth. The guitar teacher
needs to provide a supportive environment that will
allow growth to occur. This involves gradually giving
the guitar student greater responsibility for growth
and learning in areas where the student is equipped
to take responsibility. Are all guitar students willing
and able to take on this greater role? Of course not!
Some are willing to assume more responsibility im-
mediately, others need more time and nurturing and
some will never take complete responsibility. The gui-
tar teacher can only guide and assist the student in
assuming a greater role in the learning process. One
way of getting guitar students more involved is by
using different teaching vocabulary. In the beginner
level, the vocabulary consisted of clear directions with
little exibility. In the intermediate level, exibility be-
comes the norm. It recognizes the need to encourage
the guitar student, with guidance, to nd the best ap-
proach to reach their goals. This can best be done by
using awareness language. Instead of telling the gui-
tar student what is wrong with their right hand, ask

44
them to focus on the right hand. If they are repeating
right-hand ngers, ask them to focus on the alterna-
tion of i and m. This approach begins to develop a
greater awareness of what they do when they practice
and play. The increased awareness will make it easier
for them to predict the results of their practice. An-
other effective technique is to ask questions. Instead
of telling the guitar student that there is no mood in
their playing, ask them what mood they are trying to
create. As with awareness language, this technique al-
lows the student to learn not only what they need to
do but more importantly what happens if they do not
do it. During this advance level, the role of the student
in the learning process becomes increasingly impor-
tant. For the serious guitar student, the ten per cent
level of responsibility in the beginner level will grow to
be ninety per cent by the end of the intermediate level.
The less talented or motivated guitar student may not
reach this level, but any increase in student responsi-
bility will only serve to further their development.
The guitar teachers role also changes during the
intermediate level. During this level, the student de-
velops and expands their technical, musical, and
performance skills. It is important to remember that
guitar teachers teach well what they do well. While
we all have our own strengths and weaknesses, it is
important to work on our weaknesses so we do not
pass them on to our students. This is particularly im-
portant because while some of the teaching materials
used in this level have text, many provide little or no
guidance to the guitar teacher. It becomes increasing-
ly important for the teacher of the intermediate and
advanced student to be constantly growing as a gui-
tarist, musician, and teacher. Being well read, attend-
ing symposia, workshops, and master classes are just
some of the ways to continue to grow.
The objectives for the intermediate level continue
to be centered on the same six areas that we previ-
ously discussed. Now, however, we will be rening the
skills and broadening the knowledge learned in the
beginner level.
1 Technique. While it would be nice to think that
the guitar student has mastered all of the elements
taught in the beginner level, anyone with teaching ex-
perience knows that nothing could be farther from the
truth (Prat, 1986).
The beginner level provides the basic foundation for
further growth. For this growth to occur, the founda-
tion must be constantly reinforced and never ignored
or taken for granted. Somebody may have an intellec-
tual understanding of the importance of alternating
ngers by the end of the intermediate level but will
need continual reinforcement of this technique to fully
use it during the intermediate level. The following is a
list of needs which should be rened and taught dur-
ing the intermediate level: renement of fundamental
skills, introduction of free-stroke scales (depending on
the students abilities, this may have been introduced
in the beginner level), learn two and three-octave ma-
jor and minor scales, work on scale studies, develop-
ment of i m, i a, m a, a m i, and i m a combinations
in major and minor scales, both free and rest stroke,
development of tone, development of accuracy, devel-
opment of speed, advanced arpeggios and tremolo,
development of harmonic, pizzicato, and rasgueado
techniques, learn the entire ngerboard, continue de-
velopment of critical listening, appropriate repertoire
to reinforce technical and musical development, and
development of performance skills, i.e. memorization,
programme planning, etc. (Aguado, 1981).
A clean cut performance of a musical composition
by an artist is always hailed with delight by an ap-
preciative audience and should be the goal of every
serious minded student of the guitar. The rst requi-
site of a public performer is a awless technique; and
this can result only from many hours of careful con-
scientious preparation, beginning with the practice of
scales in all major and minor keys. This scale prac-
tice is necessary to train the ear to hear every sound
produced on the instrument and to develop gradually
a facility of execution by training the ngers of both
hands properly to perform their task.
For the guitar student this is of special importance,
as it is more difcult to develop an even scale; due to
the difference in the thickness of strings and the ma-
terial of which they are made. The lowest, or the sixth
string, is made of metal, as well as also the fth and
the fourth string. The sixth, being heavier than the
others, requires more pressure of the left hand ngers
and more power from the ngers of the right hand;
passing on to the fth string requires just a little less
pressure, and this pressure of both hands should be
lessened somewhat in passing over the higher strings.
When playing a descending scale beginning on the rst
string, the action of the ngers is necessarily reversed,
the second string requiring a little more pressure than
the rst. This increase in pressure should be employed
in the same ratio because the lower strings are rela-
tively heavier and offer more resistance.
One must keep in mind, however, that this dif-
ference in pressure is very slight, and a great deal of
experimenting and practice are required until the ac-
tion of the ngers becomes automatic; we must also
remember that a fairly rm pressure of the left hand
ngers on all strings is necessary to obtain a clear
ringing tone. The rst, second and third strings, are
made of nylon. The tone color of the sounds produced
on these strings is somewhat different from those on
the three silk wound strings; and it is up to the stu-
dent to try to cut down this difference to a minimum,
especially when passing from the D, or fourth string,
to the G, or third string all of which again requires
careful practice.
Now let us take up the playing of the scale in G
major which requires the use of all six strings of the
guitar, keeping in mind that our rst object is to de-
velop a beautiful round tone and the next to obtain
facility of execution and speed; let us also remember
what has been said regarding the pressure of left hand
ngers. Play slowly, counting two for each note; begin
by striking the G on the third fret of the low E string
with the rst nger of the right hand, then A open with
the second nger, and keep on alternating the rst
and second ngers until you arrive at G on the rst
string. Now play the same scale descending in a simi-
lar manner, always listening carefully to every sound
produced and continue with this ascending and de-
scending scale until the ear is able to detect a gradual
improvement in tone quality.
2 Rhythm. The rhythm skills introduced in the be-
ginner level must now be reinforced and rened. It is
easy, when teaching students at this level, to overlook
rhythmic development. Serious guitar students are
playing solo pieces at a good level, with the few rhythmic
errors easily correctable. Anyone teaching at the uni-
versity level will agree that rhythmic skills are the least
developed skill in the entering university guitar stu-
dent. This student is often rhythmically not equipped
to function in an ensemble setting. In order to better
prepare the intermediate student, we need to place
rhythmic development on the same level as technical
and repertoire development. This is as important for
the adult recreational player as for the prospective uni-
versity student. Much enjoyment and learning occurs
when a guitar student can interact with other players
of their and other instruments. Students at this level
should be developing skills in reading all rhythms, in-
cluding triplets. In addition, they should be learning to
play pieces written in compound and changing meters.
Musically this can be done best by playing duos, trios,
and chamber music (Benedict, 1985).
3 Practicing. In the intermediate level, practicing
needs to become more focused, efcient and creative.
The pieces intermediate guitar students play is longer
and contain more than one or two technical problems
found in the music of the beginner level. As the pieces
increase in length, they also increase in musical and
technical complexity. Guitar students in this level
need to learn to identify problems, drill difcult areas
immediately, acquire a broader knowledge of music,
and develop strong memorization skills, to mention
just a few of the areas. The guitar teacher needs to
encourage the student to develop a strong foundation
in these and other areas (Bogdanovi, 1990).
4 Theory. As we all know, theory is that subject
that guitar students either love or hate. As guitar
teachers, the easy route would be to assign respon-
sibility for learning theory to the student and theory
teacher. Unfortunately, the quality of our playing is
related to our knowledge and understanding of mu-
sic theory. How much theory is teacher responsible
to impart to the students? The answer is not always
easy but the following examples might help clarify the
problem (Harz, 2001).
5 Interpretation is the highest level of technical
consciousness. Interpretation demands the knowing
of musical, anatomical and physical properties to de-
termine the very best way to present a piece of music.
Most authors advocate the use of musical analysis
in determining which techniques will have the most
meaningful effect on the music.
Teaching of interpretation must be considered
equal to the teaching of technique and repertoire for
a guitar student to successfully complete the inter-
mediate level. If we look at other instrumentalists, we
always nd that the self-actuating student not only
can learn and play pieces well on his own but also
possesses sufcient knowledge of music to play more
than the notes. If guitar students are to reach this lev-
el, they must be taught the same interpretative skills
as other instrumentalists.
6 Performance. If you believe that performance is
a skill that can be developed, then the intermediate
level is the most important time in the development
of this skill. During the beginner level, performance
development essentially focused on building the stu-
dents condence. For condence to continue to grow,
the student and guitar teacher must work to integrate
into the students performance the practice, memori-
zation, and interpretative skills being developed dur-
ing the intermediate level. Many of the performance
problems encountered by students in this level are the
result of the lack or poor integration of these previ-
ously mentioned skills.
Another set of problems that occurs during this
level is the emergence of the students musical per-
sonality. The emergence and development of this per-

46
sonality is extremely important if the student is to
continue to grow. This personality development may
cause the guitar student to try to achieve more than is
realistically possible for their level. It may also cause
the guitar student to play safe and only concentrate
on hitting the notes rather than making music. In ei-
ther situation, the students self-condence begins to
suffer. Questions arise concerning their reasons for
studying an instrument, whether music is a viable ca-
reer option, or whether they will ever be able to per-
form a piece to their satisfaction. The guitar teacher
must assist the student in working through these is-
sues if their musical personality is to emerge. One of
the best ways we have found is to share your personal
experiences related to these subjects. Another way is
to encourage guitar students to audit area master-
classes. These classes often have a question-and-an-
swer period where the guitar student can not only ask
questions, but more importantly, hear that other play-
ers have similar issues.
The teachers role is also to continue selecting the
performance venues for the student. As the guitar
student progresses through this level and gains con-
dence and experience, he will gradually be able to take
on a greater role in selecting their performance venue.
Entering the intermediate level, performances may be
focused only on formal student recitals performed by
students at the same level of development.
Like the condence and integration of related skills
develop, the guitar student may be ready to perform
in programs with more advanced intermediate play-
ers. Ultimately, as the students skills and condence
continue to develop, he may choose to perform for mu-
sical clubs, music societies, (e.g. guitar societies, etc),
restaurants or full-length solo recitals. As much as
possible, the progress must be gradual, with as few
negative performance experiences as possible.
As a part of developing a students performance
skill, it is necessary for a guitar teacher to focus on
helping the student: to apply the practice and inter-
pretative skills being taught to performance, to iden-
tify and correct weaknesses found in his performance,
to identify and develop his strengths, to develop a pos-
itive attitude towards performance, and share their
love of music with the audience.
Guitar students who have successfully learned the
suggested material for the intermediate level will nd
themselves ready to assume an independent musical
role, and, more importantly, have the condence and
skills necessary to enjoy a musical life either as a seri-
ous amateur or professional.
iii) This is the level where body, mind, and spirit
begin to fuse together. Many of you reading this work
may think that the advanced level is reserved only for
those students aspiring to professional careers in mu-
sic. While currently the majority of guitarists in this
level are aspiring or professional guitarists, this need
not be the case. The advanced level is reserved for
players who can musically and technically function
at a reasonably high level without the need of weekly
lessons. There are a number of highly qualied ama-
teurs playing other instruments who function inde-
pendently in various musical groups. If someone has
been seriously studying an instrument for more than
three years, he would be able to function independent-
ly at that level. It does not mean that he can play more
challenging pieces or develop new or more advanced
techniques on his own (even though some can), but he
can learn new music and perform at his current level,
independent of a guitar teacher. A professional or as-
piring professional, on the other hand, should be able
to solve his technical problems and grow to their full
musical potential. If they can do this, then what is the
role of the guitar teacher at this level? Before answer-
ing this question, let us look at the difference between
an advanced amateur and professional. The advanced
amateur, for a variety of reasons, reached a point in
the intermediate level where he stopped studying. He
either continues to play or returns to playing the guitar
at another time in his life. If he chooses to return to the
study of the guitar, he usually returns at the level he
left, intermediate; but, depending on his talent, inde-
pendent work, and previous training, he may return as
an advanced student. The advanced student possesses
the skills and knowledge to do it alone. Lets look at
what a teacher would do for such a guitar student.
The role of the guitar teacher for the aspiring or
professional guitarist is that of a coach. A masters
student in performance is expected to bring in a high-
er level of completed independent work than an un-
dergraduate. The guitar teacher discusses issues that
the student may have overlooked or shares their expe-
riences concerning repertoire, performance, or music
with the student. While the same six areas of teach-
ing previously discussed still exist, the guitar teacher
helps the student nd the solution to problems they
may encounter during or on the road to a professional
career. What are some of the ways a teacher would
help an advanced student?
Technique. The guitar teacher, in this advance level,
would help the student regain their previous skills.
Rhythm & Theory. We would like to think that a
guitar student in this level would not have any rhythm
problems and would possess the necessary theory
skills needed to interpret the music he is playing. There
are, however, musical genres that a performer might
not have sufcient experience with, and that could
present problems. Rhythmic modulation and modern
notation are two areas that come to mind. Rhythmic
modulations that occur in the chamber works of some
contemporary composers may not have been studied
or understood. There are techniques and approaches
that can be taught to make it easier to deal with these
and similar issues.
Practicing, as well as the other skills used in per-
forming, is constantly evolving. There is more of a dia-
logue between guitar teacher and student and a shar-
ing of ideas than an imparting of facts or procedures.
Interpretation. As with practicing, a students inter-
pretation is constantly evolving. The guitar teacher of
this level must have experienced this type of growth
and evolution in their own playing and teaching to be
of help to a student. This growth would encompass not
only interpretative issues, but also technical issues that
allow a particular musical expression to take form.
Performance. These issues generally focus on pro-
gramming, career development, or anxiety. Again,
the most helpful guitar teachers are ones that are
active in the eld and have experienced and worked
through these issues. No, you do not have to suffer
from performance anxiety to be able to help a guitar
student; but how knowledgeable will you be about
the subject if youve never had to work through is-
sues concerning performance?
DISCUSSION
A guitar teacher should nd ways to relate to each
student as an individual. While there are basic fun-
damentals and techniques that are relevant to all gui-
tar music and students, it is important to integrate
these elements into lesson plans that take advantage
of each students unique set of preferences and abili-
ties. The process of teaching can actually be a teacher
itself! Experience is the best way to learn something.
Relating to students is a delicate blend of assessing
their needs and knowing how to respond. A teacher
strives to fulll the students educational needs, but a
teacher also treats the students as interesting individ-
uals and worthy people. Through a teachers respect
for them and their abilities, students sense that the
teacher truly cares what they learn.
A professional relationship between the teach-
er-students is a very important factor for the guitar
teaching process. Very often students ask about par-
ticularly different appearances in their music environ-
ments or mass mediums. Our opinion is that teachers
should be providing descriptive advanced answers on
the questions without qualitative estimations. Actu-
ally, teachers should avoid direct answers without
progressive inuence to the students. Sometimes stu-
dents are passive on some topics of guitar theory and
they ask about emphasis of these topics. There are
basic principles of music that apply to all instruments
and not just the guitar. A good working knowledge
of musical theory is benecial to all musicians. We
still think it is very important to tie in any theory to
a practical working relationship with the guitar when
possible. There are some aspects of theory that are
esoteric in nature and do not seem to apply to the art
of playing the guitar in an obvious sense.
Live discussion will open the question about read-
ing the music in order to be a successful guitarist.
In fact, many students are surprised that some gui-
tarists in the commercial sphere do not know how to
read music, but they play guitar professionally. This
kind of question in classical guitar is surpassed. It
only holds for the notable guitarists in popular music
and other genres. However, we will emphatically say
that reading music is a big benet to every guitarist. If
a guitarist wishes to do session work, or play in situ-
ations where charts are required, then reading music
is an important skill. Reading music does open up a
vast world of music to us, and it is an obligation for
every educated guitarist. The learning process never
ends for novice or advanced players. Even experienced
guitarists choose to take lessons from time to time to
inspire their development. We advocate learning from
a wide variety of sources.
Teaching pieces from classic guitar composers as
well as guitar transcribed pieces of so-called nongui-
tar composers should be enjoyment for teacher. Every
piece has specic characteristics and earns something
new. We think that playing classical guitar opens up
creative possibilities for any guitarist.
Guitar music industry personnel and society in
general have a need to categorize guitar music and
place everything in inexible little le folders. We un-
derstand that teachers need a point of reference for
what they are trying to nd, but we do not sit down
and try to consciously say that we are baroque guitar-
ists or a romantic guitarists or any of that. However,
it is a fair question for prospective students to ask
because we probably would not be the ideal teachers
for aspiring classical guitarists.
The quality of the guitar is very important, but
it is not necessary to have the most expensive gui-

48
tar to become a good guitarist. Many legendary art-
ists have learned and created their music with cheap
or sub-standard instruments. It is still advisable to
purchase guitar according to your personal budget,
though higher-quality guitar will usually provide more
reliability and gratication for the guitarist. The most
vital characteristics to look for when purchasing a gui-
tar is whether the guitar will stay in tune, and if the
neck and weight of the instrument is comfortable to
play for extended periods of time. If parents are buying
a guitar for their child, it is good to tell them that they
do not want to invest a lot of money in the guitar only
to have the student lose interest, leaving an expensive
instrument in their possession. On the other hand,
if a cheaper poor-quality guitar is bought, it will not
play easily or stay in tune, thus making it harder for
the student to enjoy working with it. First time buyers
should strike a compromise between quality and price
to ensure the best possible results. It might be better
to buy a respected brand name guitar because it could
be easier to sell in the event that the student decides
not to continue playing at some point.
On becoming a good guitar student, it is different
for every student and depends upon the students at-
titude, level of dedication, and aptitude. We live in a
society that demands instant gratication. Playing
the guitar well requires a commitment of practice and
passion. Some guitar students seem to have a natu-
ral talent for the guitar and progress at a faster rate
than others. Regardless of aptitude, all good students
realize that it takes time to develop competency with
the guitar. It is not an easy endeavour and it requires
the student to put in hours of work with patience and
focus. We are often seduced by the glamorous image
that popular guitarists seem to have, or by the inspi-
rational sounds we might hear from a favourite local
player. Good guitar students make things look easy,
when, in fact, playing the guitar is a demanding physi-
cal and mental activity. Prociency can denitely be
achieved with a love for the guitar and good work hab-
its. As far as lessons are concerned, a good working
relationship is a two-way street. The guitar student
must not only put in the effort, but the teacher must
do his best to impart his knowledge and encourage-
ment upon the prospective guitarist.
CONCLUSION
As a classical guitar advocate, our main purpose is
always to be on the lookout for new ways to enhance
guitar teaching and motivate students. To summarize,
being a good guitar teacher is a conuence of sever-
al different things. Most importantly, one must have
mastery over a given subject. If one does not have fa-
cility with the guitar pieces, one cannot help another
to learn it because there would be limitations in how
that piece could be presented. Second in importance,
one must know guitar-teaching techniques that act
as the communication device between student and
teacher. Finally, one must know how to relate.
Teachers could assign some good guitar book as a
supplement to a students standard guitar curriculum,
or pieces could be selected to ll out the gap in the
guitar literature, or as an independent approach for
the student who has already attained basic necessary
guitar skills. In other words, good guitar books pro-
vide a possibility for the above important guitar teach-
ing goals to be realized in an easier way, and guitar
teachers may choose guitar pieces freely according to
their teaching syllabus.
Recommended teaching style is a work in progress,
and probably always will be if a teacher hopes to retain
a beginners mindset. It is essential for both student
and teacher to strike a healthy balance between acquir-
ing theoretical knowledge and throwing all of the rules
out the window. While it is very important to learn new
concepts, theories and techniques in guitar playing,
over-analysis of things can lead to an excessively rigid
and mechanical approach to making guitar music.
A successful guitar teacher
shares unselsh knowledge openly with anyone who
seeks it,
encourages each and every student to nd their own
unique voice and calling with the guitar,
has a positive force of inspiration for his students
through a relationship of mutual respect and genu-
ine care for their progress. We wish to foster and
contribute to a teachers sense of enthusiasm and
passion for playing guitar,
conducts oneself in a professional manner (i.e. being
timely, encouraging, courteous, responsible, and
using common sense),
is a source of information for his students. If the
teacher does not know the answer to something,
then he should want to either nd it for them and it-
self, or direct the student to someone else who can.
is not satised with less than his best. He is com-
mitted to nding out what his best can be. He ac-
cepts his limitations and works to reduce them year
after year.
is patient and persistent in his search for excel-
lence. Progress is slow and only achieved through
persistence. He has faith in his goals and cannot be
swayed. It is a recognized fact that it takes ten years

to make a musician and a lifetime to keep him there.
Even this is a modest estimate.
is committed to artistic expression as the goal of
performance. Mastery of guitar technique is essen-
tial, because it frees the teacher.
rejoices in the technical and artistic triumphs of
other colleagues. He supports his colleagues on their
hard-won victories. He learns from their work.
remains open to other points of view. He considers
all possible musical interpretations, matters of n-
gering and posture, etc. He always seeks construc-
tive criticism.
In the end, a teacher wishes to say that guitar-
teaching philosophy is not a magic formula. It is only
an individual approach in the transfer of knowledge
from teacher to students.
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Aguado, D. (1981). 50 Estudios Elementales, Buenos Aires: Ricordi Americana
S. A. E. C.
Aguado, D. (2004). New Guitar Method, London: Tecla Ed.
Benedict, R. (1985). Sight Reading for the Classical Guitar, Levels 1-5, Miami:
Warner Bros. Pub.
Bogdanovi, D. (1990). Polyrhythmic and Polymetric Studies, Ancona: Brben Ed.
Music.
Bosman, L. (1991). Harmony for Guitar, London: Music Sales Ltd.
Bruner, J. S. (1966). Toward a Theory of Instruction, Cambridge: Harvard Univ.
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Carcassi, M. (1994). The Complete Carcassi Guitar Method, Pacic: Mel Bay Pub.
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Carlevaro, A. (1988). Cinco Estudios, 1-5, Buenos Aires: Barry Editorial, Com.
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Carlevaro, A. (1994). Microstudios for Guitar, Vols I-IV, Heidelberg: Chanterelle

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Carlevaro, A. (2002). Serie Didctica para Guitarra, Cuadernos 1-4, Buenos
Aires: Barry Editorial, Com. Ind. S.R.L.
Christiansen, M. (2005). Fingerboard Theory for Guitar - A Music Theory Text for
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Duarte, J. W. (1975). The Base of Classic Guitar Technique, London: Novello &
Co. Ltd.
Ford, J. S. (1999). The Estudio de Arte Guitarrstico of Manuel Lpez Ramos, Ph.
D. Thesis, Ann Arbor: Texas Tech Univ.
Gage, N. L. (1978). The Scientic Basis of the Art of Teaching, New York: Teachers
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Harz, F. (2001). Harmonielehre fr klassische Gitarre, Bergish Gladbah: Hans
Gerig KG.
Krick, G. C. (1941). Practice hints for guitarists, The Etude Music Mag. 59 (10),
717-718.
Prat, D. (1986). La Nueva Tcnica de la Guitarra, Buenos Aires: Ricordi Americana.
Pujol, E. (1986). Escuela Razonada de la Guitarra, Libros 1-4, Buenos Aires: Ri-
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Quine, H. (1971). Introduction to the Guitar, Oxford: Oxford Univ. Press.
Risteski, I. B. (2006a). Una losofa nueva de guitarra, Disc. Filos. 7 (10), 215-
227.
Risteski, I. B. (2006b). Anew foundation of guitar philosophy, Theoria 15 (2), 91-98.
Sagreras, J. S. (1986a). Lecciones de Guitarra, Libros 1-6, Buenos Aires: Ricordi
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Sagreras, J. S. (1986b). Tcnica Superior de Guitarra, Buenos Aires: Ricordi
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Vol. 18 no.

standable exposition of the guitar pieces. In this re-

guitar teacher is the facilitator through which the ele-

teaching with reaming. Teachers should purposely mas-

Vol. 18 no. 1 Enero-Abril 2008 41

Vol. 18 no. 1 Enero-Abril 2008 49

Carlevaro, A. (1994). Microstudios for Guitar, Vols I-IV, Heidelberg: Chanterelle

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