Private instruction on the guitar allows you an opportunity to begin studies at your stage of experience with the instrument.

Instruction is paced and new material is introduced throughout the semester as you develop reading and technical skills.

Basic Materials

1. Although some rentals are available, you must eventually be prepared to furnish your own [classical] guitar. Steel string guitars are fine specialty instruments, but inappropriate for course work above the Freshman level, and not allowed at all for majors. A guitar footstool is recommended, as well as an electronic tuner and a metronome.
2. Keep your instrument in a sturdy, weather-friendly case, noting problems in low humidity per instructor advice.
3. A music line-ruled spiral notebook to keep track of assignments and to note down added musical information. If you are working on voice accompaniment, a capo may be necessary.

Text Materials

All work is from a score used by each composer. Non-historical tablature and Internet arrangements may not be used for music whose composers did not employ such notation. Any such use is the instructor’s final decision.

There is often more than one published version of well-known guitar compositions (usually from different editors), especially if a piece was written before 1900 or has been adapted from music for other instruments. Your instructor will either furnish music that has been edited and fingered for instruction or will recommend music from a respected publisher.

The content of each level of private lessons is created by the instructor to fit your individual needs and in keeping with your level of technical skills. Exercises will help you build correct left and right-hand technique and good tone. They include stretching and strength exercises, melody reading and scale studies, harmonic progressions, arpeggio patterns, and solo technique.

Your studies initially involve establishing the basic skills of guitar playing and with time, expand to involve a variety of histori-cal styles to build the broadest possible repertoire for performance at your skill level. Selections may include Renaissance works and music from lutenists and vihuelists, music written for the Baroque five-course guitar, the music of Bach and Haydn and their contemporaries adapted for guitar, classical music from the Viennese and Parisian school of guitar composers, music from the Romantic period, particularly that by Spanish and Italian composers in addition to and the guitar literature of Latin America. Work with lute technique and literature on authentic instruments is also in planning.

Additional Required/Recommended Literature

• Selections from advanced scale/arpeggio/technical studies per Vol. III of, The Altensteiger Guitar Books, required.
• Other literature in consultation with guitar instructor, selected from composers including F. da Milano, J. Dowland, JS. Bach, F. Sor, M. Carcassi, M. Giuliani, M. Ponce, H. V-Lobos, B Kovats, F. M-Torroba, L. Brouwer, etc.

Specific Skills

(See the supplementary sheet at the conclusion of the below general conditions.) For all levels of study, objectives are:

• 1. to begin and/or continue to develop note reading ability in those major and minor keys applicable to the instrument
  Formal major and minor scale studies are presented at each level of instruction with selected studies and harmonic configurations covering instrumentally idiomatic fretboard familiarity.....
• 2. develop plucking-hand technique AND fingerboard-hand technique
  Patterned studies are presented to develop rhythmic interpretation, timing, correct right-hand position and movement, and special techniques idiomatic to the guitar. You will learn to move efficiently through common harmonic and scalar patterns.....
• 3. develop sight reading skills....
• 4. develop the 'fine art' of musicianship through good practice habits and performance habits....
  through thought a study of phrasing, dynamics, articulation, and correct stylistic interpretation as complements to technical and rhythmic proficiency with studies of the musical styles and composers, and in practice, with emphasis on correct posture and body position and a correct physiological approach to the instrument.
• 5. NOTE: to the extent possible, instruction will also take into consideration the background of those students who may have had more extensive involvement with “non-classical”, i.e., “popular” instruments and musical styles.

Specific Student Outcomes

Student are expected to:

• Demonstrate the style appropriate to each assigned piece.
• Participate in course performance, student recitals and when appropriate, a final jury examination.
• Demonstrate proper application of pedagogic techniques resulting in a successful performance that embodies principles and techniques relevant to the instrument.

Special Notes

• 1. Students are responsible for noting the differences between the 1400 and 1410 [Lesson lengths].
• 2. It bears repeating that all music majors or minors taking guitar are also required to attend Studio Class and ensemble as part of their curriculum. Isolated semester exceptions can be granted in cases where adults have full-time class or work conflicts. This is not an option for full-time students or those who could arrange their work schedule. See me regarding any conflicts or problems before making any course changes.

Evaluation and Grading

For beginning guitarists (and because weekly goals and physical skills of private instruction often do not correspond to the same kinds of efforts as courses focusing on mental learning), your progress will be in part determined by your background. Remember: It is NOT so much the quantity you learn, but your progress from a beginning point, and in the process, your willingness to take on new challenges. It has happened that an "accomplished" player in one particular style, who does nothing to apply him/herself to learn something new, can earn a “C” or worse for having resisted any change, while someone who is completely new to the guitar may receive a “B” or higher for having made a real effort (and even when he or she still does not play as well as the person with more experience).

For more accomplished “classically oriented” players, essentially the same applies: One who either disdains learning accompaniment fundamentals or resists reviewing pedagogical basics to enhance his or her future teaching abilities will not make progress nor be graded accordingly.

In other words, in these studies - and especially for newer guitarists - your willingness and work in taking on new challenges is more important than what you may already know. Resting on your laurels is NOT an option.

Your evaluation is comprehensive and includes attendance, preparation, progress, and mastery of materials. Music majors perform at the end of the semester for a jury of music faculty, and this jury grade is factored into your evaluation.

• Attendance and weekly course work: 40% lessons, and (where appropriate) 20% Studio Class participation
• Final Assessment: 40%

Remember: Music Department Policy requires a (juried) lesson grade drop for anyone not fulfilling recital and other attendance requirements!!! Other grade considerations appear in my supplement, “Grade Killers”.

PLEASE do NOT take this document lightly!!!!

Departmental Requirements (Overview)

Music majors (part-time or full-time) enrolled in juried private lessons must meet a recital attendance requirement each semester. Check with the Music Office at the beginning of each semester for a list of recital choices. Failure to meet the attendance requirement lowers private lesson grades by one letter.

Music Department policy requires fulfillment of certain other musical basics before enrolling for upper level lessons, regardless of a player's ability. These are detailed in your Student Handbook.

Majors enrolled in juried private lessons are also required to complete a Recital requirement. Check your Student Handbook or with the music office for details.

Majors enrolled in private lessons must perform in at least one student recital per semester. Students above the 161 level are encouraged to perform twice per semester.

Recital repertoire is chosen from your private lesson studies. Check your Student Handbook for dress codes and policies governing performance. With the exception of ensemble works [duos, etc.], recital pieces must be memorized.

In the majority of cases, your instructor cannot modify these requirements.

Guitar majors also must complete a juried performance at the end of each semester in order to advance to the next level of private instruction. Non-majors may be asked to perform in a guitar jury for performance experience or for advancement from a non-juried track to a juried track.

Guidelines for 1410–2410

NOTE: Non-juried lessons are offered at the 1400- 4400 level. They may be repeated, but cannot at any time be substituted for juried lessons at any level. The following is for continuing semesters in 1410-2410 [3410>4410 are typically for advanced work and recital preparation].

Non-Majors (1 credit) — 1/2 hour lesson

Text/Method: The Altensteiger Guitar Books, Vol. 1 Other literature in consultation with guitar instructor, selected from composers listed below.

Semester 1 - Lesson Requirements: Student should be able to perform any exercises or pieces from Lessons from 1-50 of the required text, including basic knowledge of all scales and chord/accompaniment basics therein. More experienced students may choose a piece of their choosing in consultation with the guitar instructor. Selections from advanced scale/arpeggio/technical studies per Vol. III of, The Altensteiger Guitar Books, required. Continuing duo work required.

Semester 2 - Continuing Criteria: Students must complete work through Lesson 54 with option to prepare two solos from Lessons 43 onward or 1 from the Lessons and one piece chosen in consultation with the guitar instructor. Selections from advanced scale/arpeggio/technical studies per Vol. III of, The Altensteiger Guitar Books, required. Continuing duet or accompaniment work is required Appropriate attendance at guitar ensemble and/or studio class is mandatory.

Majors (2 credits) — 1-hour lesson

Text/Method: The Altensteiger Guitar Books, Vol. 1 Other literature in consultation with guitar instructor, selected from composers including F. da Milano, J. Dowland, JS. Bach, F. Sor, M. Carcassi, M. Giuliani, M. Ponce, H. V-Lobos, B Kovats, F. M-Torroba, L. Brouwer, etc.

Semester 1 - Lesson Requirements: Student should be able to perform any exercises or pieces from Lessons 1-43 of the required text, including basic knowledge of all scales and chord/accompaniment basics therein. More experienced students may choose a piece of their choosing in consultation with the guitar instructor. Selections from advanced scale/arpeggio/technical studies per Vol. III of, The Altensteiger Guitar Books, required. Continuing duo work required.

Semester 2 - Continuing Criteria: Students must complete work through Lesson 54 with option to prepare two solos from Lessons 43 onward or 1 from the Lessons and one piece chosen in consultation with the guitar instructor. Selections from advanced scale/arpeggio/technical studies per Vol. III of, The Altensteiger Guitar Books, required. An advanced duet and/or work as an accompanist is required. Appropriate attendance at guitar ensemble and/or studio class is mandatory.

Guitar Major Specific Repertoire/Works - Update

After several years of working with a cross section of students at SUU, I can now offer a more detailed plan for lessons that may help put into perspective reasonable requirements at SUU vis a vis those for general teaching and graduate schools. One important given is that most aspiring guitarists arrive at their university without any of the background in sight reading, technique, and musicianship that is expected of pianists, wind, brass, voice and bowed string students. It is essential for all guitar students to recognize the need to counter this with a very specific approach to learning their instrument if they are to make up for lost time.

The following list is offered as a specific series that provides a step-by-step solution to the problem. The commonly known pieces are repertoire standards one should also be able to teach, and thus there is no alternative to knowing them. Lesser known works are essential to a guitarist’s being acquainted with the history of his or her instrument, and are therefore no less important. However, it is CRUCIAL for beginners NOT to focus exclusively on the more advanced semester-end goals at the expense of the prior lesson basics. The sequence of REQUIRED items includes:

1410 (1400)

Lessons 1-30 (Altensteiger Guitar Books, Vol 1) - during Semester 1, including at the JURIED level, performance of the Lessons 36 AND 38 as basic technique/repertoire. The “concert” work required at this level is a thorough mastery of Francisco Tarrega’s, “Lagrima” per my preparatory section from the accompanying Volume 3 (to Volume 1, “Lessons”) of my Altensteiger Guitar Books. Scale patterns which must be learned are the C-Major, 2-octave pattern and E-Major, 3-octave pattern laid out in my Guitar Foundation of America article, and which scales I will provide in sets of two each semester. Those not able to complete these requirements will need to repeat their current level. Those not sure of their ability to do this after discussing these and other requirements should consider one semester of 163 (at and above 261, level 164).

1410 (Semester 2 - 1400 and higher levels will be pared per student abilities and lesson time limits)

• 1. 3-octave scales, F, G-Major. (Note: these scales are an attempt to SIMPLIFY the idea of USEFUL patterns which are ALWAYS at the player’s fingertips. While they are not universal to all pieces requiring scales, NO OTHER system of patterns can claim to be so, either. Therefore, these are NOT subject to personal choice or preference, although each student is encouraged to work on different sets of scales which may interest him or her.)
• 2. The student is expected to continue developing a THOROUGH understanding of the historically important technical principles covered in Lessons 36-43, and particularly, those presented by Dionisio Aguado
• 3. Repertoire piece is Heitor Villa-Lobos’, Prelude 1 (from his 5 Preludes)
• 4. Expected duo repertoire completion of Movement 1 of Sor’s Op. 55, #1.

2410 (2400)

Pedagogy - Continued review work with The Altensteiger Guitar Books, Vol 1 - This is NOT optional and, as a method, is just as important to your problem solving abilities with your own students as any advanced solo repertoire

Technique - At least two MEMORIZED studies a semester from Dionisio Aguado’s 1843 Method, continue with scales and related technical requirements until completing all Major/minor types per instructor plan

Solo/Jury/Concert - MINIMAL repertoire piece is Matteo Carcassi’s Study in A, Op. 60 #3, following the same approach as with previous repertoire and as detailed in excerpts from The Altensteiger Guitar Books, Vol. 3 Of course, at this point adding other repertoire based on need and student interest is a given

Duo - have completed Sor’s Op. 55, 1a and b for recital or ensemble performance AND have begun others in the Op. 55 set.

3410-4410 (3400/4400)

Continuation of above. In addition to an absolute requirement that during the year, one major work from EACH of the Renaissance, Baroque, Classical/Romantic and modern repertoire be prepared for recital/jury performances, Junior and Senior recitals are NOT specialty performances and MUST INCLUDE at least on work from three of these four periods. Here the term, “Major work” is broadly defined as one appropriate for the given level of study, typically 2 minutes or longer, but include shorter works of higher difficulty.

If you find it necessary to miss a lesson, call ahead to advise (this is an expected courtesy).

Missed lessons properly excused may be made up if we can schedule a mutual time. Time allowing, if I cancel a lesson due to illness or a performance, I will offer a make-up lesson.

Although specific assignments in a skills course such as this are less common, any assignment not completed during the course of the semester will be given a zero. Such assignments will be designated clearly enough to avoid misunderstandings.

Regular attendance at all scheduled private lessons is required. Attendance is a major factor in earning a grade for the course.

Since in-class activities are extremely important, regular attendance is vital. Though better for yourself and fellow guitarists to avoid entirely, you my be allowed 1 absence [extraordinary circumstances will be considered, but the final decision is mine]. Each additional absence not excused will lower your overall grade by one-third of one letter grade.

If you are absent for any reason, you are responsible for obtaining/completing any assignments that were given on the day you missed.

If you find it necessary to miss a lesson, call ahead to advise (this is an expected courtesy).

Missed lessons properly excused may be made up if we can schedule a mutual time. Time allowing, if I cancel a lesson due to illness or a performance, I will offer a make-up lesson.

Arrive for lessons on time. You will get more out of your lessons if you have warmed up and rehearsed immediately beforehand. Practice rooms on the third floor are available and may be reserved for the entire semester.

Ideally, the best lesson time is scheduled so that it also allows you to spend 20-40 minutes after your lesson in the practice room before leaving campus. This gives you an opportunity to review what was just taught and to make any notes that might be needed to help you remember changes and modifications.

For all semesters, general SUU attendance regulations for private lessons apply. Since in-class activities are extremely important, regular attendance is vital. It is also a simple courtesy to your colleagues not to slow the class down with absences. Though better for yourself and fellow guitarists not to, you my be allowed 1 absence. Each additional non-excused absence will lower your overall grade by one letter grade. Also, 3 tardies may equal one absence.

All music majors are assigned an advisor, who is a full-time faculty member in the Department. As a non-full-time [adjunct] head of guitar studies, your assigned advisor will be another, full-time faculty, but I will advise in matters dealing with guitar and as required, in conjunction with your official full-time faculty advisor.

Please read your Student Handbook thoroughly to familiarize yourself with the requirements for your degree. I'll be glad to answer any questions you might have as the semester progresses.