You are on page 1of 297

CONTENTS

Cover
Title
Dedication Page
Preface
Publishing Credits
Introduction
Table of Contents
Introduction to Book I
Chapter One-Sitting
Position of the Instrument
Position of the Arms
Position of the Legs
Chapter Two-Anatomical Function of the Hands
General Anatomical Terms
Finger Movement
The Thumb
The Left Hand
Position of the Wrist
Guitar-related Injuries
General Warning About Injuries
Chapter Three-The Right Hand
Position and Movement of the Right Hand
Position and Movement of the Thumb
Shape of the Nails
Nails vs. Flesh
Chapter Four-The Left Hand
Position of the Left Hand
Movement of the Left Hand Fingers
Afterword to Book I
Introduction to Book II
Chapter Five-The Right Hand
Scratching Exercise
Moving Exercise
Releasing Exercise
Additional Exercises
Alternation
Right Hand Fingering
Chapter Six-The Left Hand
Chapter Seven-The Right and Left Hands
Exercises-"The Basic Seven"
Rhythmic Variants of "The Basic Seven"
Pulsing
Scales
Arpeggios
Chapter Eight-The Teacher
Teaching
Coaching
Chapter Nine-Practicing
Practicing
Practicing for Performances
Chapter Ten-Additional Subjects for Intermediate Students
Bars
Vibrato (Arm, Wrist and Finger Vibrato)
Developing Speed
Accuracy in Fast Passages
Tremolo
Chapter Eleven-Additional Subjects for Advanced Students
Advanced Bar Techniques (Hinge Bar and Split Bar)
Appagado
Arpeggiating Chords
Cadential Arpeggiation
Harmonics (Natural and Artificial)
Left Hand Split Trills
Playing with the Flesh
Rest Stroke Melodies in Arpeggios
Right Hand Cross Alternation
Right Hand String Crossing with P
Subito Piano Slurs
Tamboura
Timbre Changes
Chapter Twelve-Performing
Stage Presence
Chapter Thirteen-On Stage
Stage Etiquette
Stage Fright
Media
Chapter Fourteen-Teaching Children
Chapter Fifteen-Arranging A Private Studio
Introduction to Book III
Introduction to Aesthetics
The Artist
The Art
Chapter Seventeen-Physical Control Over the Sound
Dynamics
Timbre
Articulation
Phrasing
Chapter Eighteen-Mental Control Over the Sound
Singing
Mental Dynamics
Mental Orchestration
Mental Practicing
The Strong-Weak Maxim
Chapter Twenty-Schenker Analysis for Interpretation
Chapter Twenty-One-Temporal Modes in Music
Epilogue
Appendix I Trouble-Shooting Checklist for Teachers
Appendix II Sample 16-Week Lesson Outline
Appendix III Suggested Methods, Studies and Pieces
Appendix IV Suggested Magazines
Appendix V Selected Research Source Materials
Author's Biography