Mel Bay Learning the Classic Guitar: Part 1

162 Pages·1990·29.04 MB·English

by  Aaron Shearer

MeL Bay Pececnss

AARON DULARER

LEARNING
THE CLASSIC Guitare

PART ONE
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MeL Bay Persevrs

AARON SUEARER

LEARNING

THE CLASSIC GUITAR
PART ONE

CDIT=D BY TéM PogeE.
To sy wany studlets with whe T

hove shared the jay ef learning,

‘whose enll:asiasm anal trus. nave provided,
steadfast inspizaion aver the years,

neng

ra

BESCACHLAADHAHCHAHANARDPAAHPHAAHRAHAAAALHAHAHPR PH HARE
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‘iting Ue Ource books which constitute Learning the Classfe Guitar has occupied
‘he parc two decades. Thing this time, so many people have ollered encouragement
al would be impeseiiie for me to list them all few poople, however, have been
expeeialy supportive, and V6 “ke to express my gratitude to each of them by nanw:

To Ray Chester — tor-ne> pupil, former colleague at eabody Canservalory ol
Music and steadles Jriaud, Throughout dhe many years of eur association, he's always
believed that gultar Instruction neesied to improve, and that these books needed to
be weitlen

Yo Larcy Alan Saul, Dyan of Music at The North Carolina Scheel of the Arts,
‘Through bis kind consideration, ve ‘neen spared the pressure ef administrative duties
‘which wo ld lave Laken Gin fre ny research and writing, He's also been a soures of
gracious and tnfelling spp

ToPsul Grove, .ojgh Mamalin Scily Hirsh, an Richard Ma-teaan for reading the
smanctscript and for ‘hei= saggestions and encouragenett

To dhe Semans At Had Jo its tnnely grant, whl haw eased te
completing the ilusctations.

‘To Kathloen O’Brien, for her expertise and kind cooperation as llnsteatot.

To Alan Hirsh, whe composed mans: ofthe music for Pert Tuo, His contributions
fecione [a pal Laas uf vunposer, Al
have been invaluable

-uggestions, enthusizem, and enc

‘To Tom Poore, whose contribution has heen more than that oF editor Chir many
hours of discussion helped tu uarify n1y onvepts, snd occasionally uncovered a new
Sdea which migh have otherwise lain fallow.

And. firally, my heartielt gratitude goes tomy beloved wife, Lorraire, for reading,
and vorteting the auanuceript att various stages, but most ofall for her steadfast and.
loving support

Acknowledgments
Contents

Preface
Tufroduction

Classic” ar *Classieal” Guitar’.

‘Tuning fie Guitar.

Playing Condition of the Guitar
Liter ning the Acion uf a Guilat

(Chiueing a Teacher

Approaching Guitar Study.
Your Gua. Sharing Mie
cena for Perforsnasise
‘Avoiding Habits of Confusion and Error
‘AinrDirected Movement. :
Developing Sustained Corcentration...
Guidelines for Study aul Preckce.

‘The Fout Principles of Ellicient Muscle Function.
‘Sezamary on i

Positioning the Guitar.
General Postio=ing.
‘The Five Ways of Moving he Guila
The Righ and Left-Hend Position Clik,
Adjussing Your Position
fn Alvermative to Using te Footstand Alone
SUMMEREEY co om

Tone Praductlon coon
Principles of Tone Production
Tose Quality ard Your Nails .
Nall Coou an Suggested Soria

Sumauary —

Summary
Beginning Right-tland Tr os
"Terms aril Syubuls. 29
[Right-Hemd Positioning wo we 33
ReeisStioke and Tree-Sc70ke — a
‘The PrepareuStrose 3
‘Tealrang B: The Prepared Leer iroke we

Sounding the . ~
‘The Conlin ‘
r
Beginning LeftHand 7 ' a ame)
Tefore Vet Fegir — 48
Hind Posies - M

1 Moves 4B

Mevement by Touch: Appiping AitacDivected Movement (ADMD. 47

‘Training the Right-Hand Fingems
‘Training she inactive Fi
‘The Prepared Zeat-Serake,
‘The Conssnuity KestSlrobe.
Aletnation of a Finger Best

Roginning Free Stroke with Your Tingees
Before Ve: begin
FroeStke Couviderstions
HM Free-strake
“Tip Join: Comsiderations
HM and P Alleraasion
HAE A FreeSte!
1M Qend eB Alwenation

Beginning Freasiroke Alteration’ PL
Left-Lland Cons-deralions.

“Alternating Land Mon Adjsrent Strings aL
‘Alternating Land M on 3 Sits Stang

Principles of Stzing Crassing...
eianing rng Crossing
Coaity on Wourd Suings
Sounding a Single Note Free Strdke on an Adjacent Sting
‘Mand A Altemation. ee

Developing iight-Hand Speed
Developing Independence through Opposed Finger Siecepion. AT
Inseprating Independence and Contral
Sumsary .

Comparing Rest-Strake and Free-5eok
“RestStoke Finger Alleralion.
Seurding Thies Sings Togetee with P andthe Pigors
Sowing Two Stings Together with P ané Gre Finger
RIMS S
ELMS Mi
‘our sirngs Sioulaneously wit PRCA
Fuslhes Lecbitand Toning
“Applying ihe Prinaples of Tt
cpg arti MoD
Sie :

‘Techracal Siurs
‘Types of Downward Stirs

Purther Right Hand Training.
“Arpeggics without P.

BMT oe
DM A =
AMLM.

TAWA
ALMI..

Conditioning and Coordination Exercises ener)
“The importance of Strehing Bence 108
Procedure for Suelching Exercises. ecnaneeree

re

Theveloping Muwcuiar Coordination ee =
CCoardinatiqn FXers0% 1. n

‘The Remedial Stucent..
Summary 5:

“The Natucal Approach
‘Determining iw Most Natoral Aporoach
‘Tremor st Late Happen”
SUMEREEY or om

ennnany af Mavement, <n sia
‘Summary

Repetitive Strain Injury (KSI
Coecdlnation and Counerprocsicove Tension
How RSI Deve'o
Muvicians Who Develop RSt
‘Questions about RSI.
Gvereoming, RST.
Summary ~

Avoiding Chronic Shoulder Pain...
TLeaming to Recognize Correct Aran Movement oo. sone nme AB
Provature {or Training the Right Shoulder
Summary ov

Index
eee ee een

Jee ohbabus

Preface

Playing a “musical Instrument sich as the ob
emesis of hsnaut achieverenss. The sustained concentration snd skififul move-
resis required to play proficiendy ace probably ensezpasced by any other hmm
fessieavor, My ova Ciasic Grane Tecigun sens, written many years apn, was tated
toad in the development of these ielectual and nhysloal sis.

fe gallar ig yuu ot the most

1.1569, when the fest of fia Looks appeared, Tas macy a modest ving,
a guitar teachin Washingson, TC. Ton yoats earlier hac. experienced a devastating
tlackof tendoninsit ny right and, lesnng me with only limited playingataity ane no
hove of ever ewning « hving 2 2 posformer. I lille veezzed then that this cripplis
harcizap would becomea pusitivetorcein-ny ie. T+ eventually prompted mete rethink
theumal approaci'o learcing the pultat.Could students learn “he guitar mare secusely
anu elf.dentiy? Could they avoid injuring thermusclesand nerves o! hei hands as had

jue, Volum, was He wily reraltof my thinklng, and Iicole

ome? Casi Gxt Yee
italy to ll my owt 5

Gating the book publisieé was ¢ formidable task, Artes Segovia was gio
enough ty evaluale my marmseript but regreltally soemed re chat it way “totally
worthless " Ts-nugh the kind secoumenéation of Viadicnir Beri, Aowever, the Ricotd:
Firm in New York consersaé te tead my manuscript and evenrually accepted il tor
publication

‘he gricar community's interest in the bool and its related volumes care siowly
at rt, and vever in my most npllmistic moxens did I dream that the bovis wot.d
soinaday be sed <0 extensively, ‘Thzough their aucces:, 1 was invited along, with
Sophocles Papas of the freltyat Amari University in Washingter, D.C, Typelber
wwe inaugurated hat Thalieve was Une Bist majartiniversity degtee peegrarn for guitar
in to United States. A few years Inter I began: similar program at Cathotic University
ol Amenca, #'sain Washingtos,2.C. This was followed by dre rst degree program. at
a mujer comer lary, Peabec'y Conservatory vi Musici. Beitimone, Mazylaud, where 1
taught for 16 years. Since 1961 ve directed she guitar program al the No=th Cara!:na
School ef tne Arts in W.nstor-Saler
br

Over the years Thavemeta wife voriery of talented people, many of whens have F
ingpited me to secka more effective approzch ly teahing che guitar. While my earlier
books lurve preven benefic.al and see willcemlinue tobe useful ny approact log uitar
study has advanced significantly. Tarough: Laerning tke Classic Guitar, nope to share
hese advances sich anyone possessing a sincere intrest in re guitar

Studen's alierpting #9 master the gultar face a challenging task IF they ae to
realize thele goals, -hey shonld not waste Line in untewarding and poventially harmful
sudy. Thus, [have sought concepts and procedures which, f carefully applied, will
tenable studens to work more efficiently —reg:lling in he zt cure and rewarding

progress for Ute tne thay devote to stady and practice.

Incetrosped,iLsoesns tuluve taken me far toolong toarive at these ovncepts and
procedures, Bul after more than fifty years of teaching, 1am gralifed lo sce my stademts
Progressing more direclly toward their goals. Further, many of these onncep's ae
-opliceblonotonty talramning the puter, but to thelear=ing o, lhe iusirusner.teas well,
tad hope thal someday all musicians will fully understand theie importarce

Aaron Shearer
Winston Salen, N.C.

Beer erp ppreee yr
Introduction

Although learning any mslal instrument is not exsy, the Cassic guitarsooms 19
‘beespocially challenging Itecaseitetiers xomany possibilitesformis-sker approaches,
‘he guiar offen provus confusing to students. [both tecunique and cual develop
ment, whatic:ially apocars casiestand most natal often sumsout tote incorrect. Ths,

1 ensure that students aveid confusion, frustration, and wasted Gane, a detail and
_grulue! e>proach is essential. "Ihe better erganized a challenging subject is, the more
accessile It becomes.

‘Many ideas In my approach challenge traditional mwtigds and asswnptions,
‘Avtrough Thave ocensionally explained why Tae things differently, [have not tried bo
ive 4 point-by-point refutation: uf traditivul guitar imbructon, IF my approach kas

ne, it will stand on itswn merits. The mlimate verdict vei eat with the srademtsand
teachers who use ese books.

‘There are five major areas in classic guitar study: tedunigue, reading music,
memocizing music, interpzetation, and performance. Thus,shetheee pats | earning hz
(Chace Guitar are arranged as fosiows:

art One: Technique

This volume Focuses on technic developmers, ana italso provides
cucialinformssionabouretfcent stady andprattice will gudeyourda-
velopment of the four essentials of tachniqhe:aecr-ncy, seni, speed,
and erduranes

Part Tavo: Reading and Memorlzing Musle

‘This volume presesis the elemier sof music, and procedures for de
veloping your abillry to sightread and memorize. It alo introduces
systacnaJc way to fearn wollen nolesrapiély and cotrciate them with their
lations on the ngerboard,

Part Thvee: Muste Tuterpretation and Performance

This volume helps you jorm clea= and accurate concepts of musics
expression. Tt alan provides informaticr. on leszning how te perforot for
others wits secatity and comficence.