Introduction
This study plan outlines a comprehensive approach for classical guitarists aiming to enhance their skills through focused practice. It emphasises the importance of quality over quantity in practice sessions, encouraging musicians to isolate challenging passages and transform them into specific exercises. The plan is divided into three levels—Elementary, First Course, Second Course, and Third Course—each providing tailored studies and works to develop technical proficiency and musicality.
Key components include:
- Development: Strategies for effective practice, including concentration techniques, minimal effort, and detailed attention to movement.
- Left Hand Techniques: Emphasis on scales and finger positioning to foster dexterity and control.
- Right-Hand Techniques: Focus on foundational strokes to build a solid playing technique.
Each course progressively introduces more complex studies and works, allowing guitarists to build their repertoire while refining their technical capabilities. This structured approach ensures a well-rounded education, preparing students for advanced performance and deeper musical understanding.
Development
Preparation and Considerations
- Isolate yourself for maximum concentration.
- Optimize time; it’s about quality, not quantity. As Master Carlevaro said, “Minimum effort, maximum yield.”
- Address difficulties by isolating passages, turning each challenge into a specific exercise—fragmentary practice.
- Avoid mechanically repeating the piece/study from start to finish.
- Rationalize each position and movement, always using minimal effort.
- Work very slowly to attend to every detail, using a metronome if necessary to maintain speed.
- Incorporate mechanical exercises at the beginning of each session as a warm-up before tackling studies and/or pieces.
LEFT HAND
Technical Work- Start with chromatic scales (Daniel Fortea’s Study 9) and diatonic scales (Dionisio Aguado’s Guitar Method, page 7).
- keep fingers on the string as they are placed to align and open gradually in ascending scales.
- keep fingers close to the string in descending scales as they retreat. Maintain an arched fourth finger and proper hand positioning.
RIGHT-HAND
Technical Work- Begin with rest stroke (apoyando).
ELEMENTARY LEVEL
Studies - Preparatory Course
Daniel Fortea´s Guitar Method (Fortea Library)53 studies, exercises, and lessons for beginners. Highly recommended.
– ISBN: 26159
– Publication Year: 1983
FIRST COURSE
Studies
– Dionisio Aguado (Regino Sáinz de la Maza Edition): Part One – Studies 1 to 10.
– Leo Brouwer: Simple Studies 1 to 5.
– Mateo Carcassi: Six Caprices (Regino Sáinz de la Maza Edition) Caprices 1 to 3.
– Fernando Sor: Guitar Studies op. 60 (Madrid, UME).
Works
– Mateo Carcassi: Minuet in G (SGA Edition).
– Fernando Sor (Fortea Library): Four Easy Minuets.
– Fernando Sor (Fortea Library): Four Easy Preludes.
– Diabelli: Andante and Minuet. Five Viennese Dances (U.M.E.).
– Anonymous/Daniel Fortea (Fortea Library): My Favorite (Mazurka).
SECOND COURSE
Studies
– Leo Brouwer: Simple Studies 6 to 10.
– Dionisio Aguado: Studies 11 to 27. Also, exercises, scales, intervals, ornament notes, etc., pages 16 to 46.
– Fernando Sor (Sáinz de la Maza Edition): Studies 1, 2, 4, 5, 6, 7, 8, and 9.
– Mateo Carcassi: Progressive Studies 1 to 7 (SGA).
– Mateo Carcassi: Six Caprices 4, 5, and 6.
– Emilio Pujol: Reasoned School of Guitar (Ricordi Argentina Edition) Volume II (pages 116 to 133).
Works
– Absil: Prelude and Barcarolle (Schott).
– Dowland: Two Galliards (UME).
– Fortea: Dialoguing op. 25 (Fortea Library).
– Sor: Minuet in C (UME).
– Tárrega: Adelita (Fortea Library).
– Tárrega: Lágrima (Fortea Library).
– Tárrega: Pavana (Fortea Library).
– Giuliani: LA Mariposa op. 30 (from 21 to 32).
– A. Logy: Partita in A minor (UME).
THIRD COURSE
Studies
– Dionisio Aguado: Guitar Method. Part Three: Pages 47-54.
– Mateo Carcassi: Pages 8-15.
– Napoleón Coste (Sáinz de la Maza): Studies 1 to 9.
– Fernando Sor (Sáinz de la Maza): Studies 3, 10, 11, 12, and 13.
– Mauro Giuliani: Preludes op. 83. 1 to 3.
Works
– Luis de Milán: Six Pavans (UME).
– Luis de Milán: El Maestro vol.1 (Suvini Zerboni) Fantasies 10 to 19.
– Poulenc: Sarabande (Ricordi).
– Carlos Seixas: Sonata in A minor SK 80 (Schott).
– Fernando Sor: Forty Minuets (UME) 7, 8, 13, 19, and 26.
– M. Torroba: Burgalesa (Schott).
– Castelnuovo-Tedesco: Appunti op. 210 (Suvini-Zerboni) 1 to 5.
– J. Pernambuco: Sons de Carrilhões.
CONCLUSION
In conclusion, this study plan serves as a valuable resource for classical guitarists at all levels, providing a clear framework for skill development. By prioritising effective practice methods and focusing on both technical and musical growth, musicians can cultivate their abilities and enhance their overall performance. The structured progression through each course not only enriches their repertoire but also fosters a deeper appreciation for the art of guitar playing. With dedication and commitment to this plan, students are well-equipped to achieve their musical aspirations.
