LMU München – Institut für Musikpädagogik

Hauptseminar: Kinder- und Jugendmusikkulturen – WS 2011/12

Dozentin: Prof. Dr. Alexandra Kertz-Welzel

Beginners’ guitar methods for Children:

A short Analysis and Critic

Julio Marinelarena
Matr.Nr.: 9011924

Kontakt:
jmar-2@hotmail.com
Abgabe der Arbeit: 31.März. 2012
 Contents

1. Introduction........................................................................................................1

2. History of the Guitar ..................................................................................... 2

2.1 The origins………………………………………………………………………………………….2
2.2 The Vihuela……………………………………………………………………………………..... 3
2.3 The Baroque Guitar……………………………………………………………………………. 3
2.4 The 19th century’s Guitar…………………………………………………………………….. 4

3. Guitar’s Methods of the 19th & early 20th centuries................................ 4

3.1 Methode complete. Divisee en trois parties Op.59…………………………………..5
3.2 Mèthode complète de guitare ou lyre…………………………………………………… .8  
3.3 Nuevo Metodo de Guitarra ………………………………………………………………….10  
3.4 Escuela Razonada de la guitarra. Basada en los principios de Tarrega…..12

4. Three Guitar’s Methodos for Chilndren and Teenenger…………………. 14

4.1 Fridolin, Eine Schule für junge Gitarristen – Band 1………………………………14
4.2 Meine Gitarrenfibel Ein fröhliches Lehr- und Spielbuch für Kinder…………14  
4.3 Play Guitar, Gitarrenschule - Teil 1 –……………………………………………………15  
 
5. Critical Analyses…………………….……………………………………………………......... 16
5.1 The methods structure……………………………………………………………………..... 16
5.2 Procedures and Goals………………………………………………………………………… 17
5.3 The musical material………………………………………………………………………….. 19

6. Bibliography..................................................................................................... 22
1 Introduction
In this paper it will be discussed the differences between the guitar methods the 19th
& early 20th centuries and three beginners’ guitar methods for children from our
days, in order to see their improvements and deficiencies.

It was decided to make a historic selection of the guitar methods since his appearance
by the 19th century until the end of the 2oth century first part, where appeared the
first guitar methods for children. The selected 19th centuries works are: Methode
complete. Divisee en trois parties Op.59 by Mateo Carcassi, Mèthode complète de
guitare ou lyre byFerdinando Carulli and Nuevo Metododo de Guitarra by Dionisio
Aguado. The selected early 20th century work is: Escuela Razonada de la guitarra.
Basada en los principios de Tarrega by Emilio Pujol

Due to my guitar teacher experiences in different Musikschulen in Germany, as well

as to the experiences interchange with some guitar teachers, I decided to selected the
next children’s guitar methods: Fridolin, Eine Schule für junge Gitarristen – Band 1
by Hans Joachim Teschner, Meine Gitarrenfibel Ein fröhliches Lehr- und Spielbuch
für Kinder. Band 1 by Heinz Teuchtert and Play Guitar, Gitarrenschule. Teil 1 by
Michael Langer & Ferdinand Neges. These methods are very popular in the
Musikschulen.

On the chapter History of the Guitar it will be shortly resumed the history of the
instrument since his origins until the 19th century, when the instrument acquired his
final design.

On the chapter Guitar’s Methods of the 19th & early 20th centuries will be analysed the
structure of Carcassi’s, Carulli’s and Pujol’s guitar methods. Their differences and
similitudes will be discussed. Subsequently the beginners’ guitar methods for
children will be introduced on the chapter n°3.

On the last chapter the methods Fridolin, Meine Gitarrenfibel and Play Guitar
Gitarrenschule will be analysed. Differences and similitudes between the historic
guitar methods and the children’s guitar methods will be discussed
2 History of the Guitar
2.1 The origins
The guitar nowadays has changed his Form several times trough the centuries, today
we can find basically to families: electric guitar and acoustic guitar. The acoustic
guitar belongs to the plucked string instrument and consists in a body, headstock and
neck. The body is composed primary of top, deck, two sides and the soundhole. In the
headstock we find the tuning machines, while in the neck the frets, the fret-board and
the strings. Wood is the main material for the construction, however today many
guitar luthiers include another materials like a polycarbon or nomex.

There are two theses principal about the origin of the guitar. The first one establishes
a Greco-Roma origin the guitar due to the etymological reasons. The word guitar
comes from the Latin word cithara, which is derived from the Greek word kithara, an
instrument from classical times used in Ancient Greece and later throughout the
Roman Empire 1. The second these maintains, the guitar proceeded from the
Al-Andalus instrument qithara2, which could derive from the Arabic instrument oud,
which was introduced into the Iberian Peninsula trough the Muslim occupation
between 711 and 14953.

By the centuries 11th and 12th two different instruments were called guitar: the
guitarra moresca and the guitarra latina. The first one had an oval back, wide
fingerboard, four courses of strings (each course consisting of two separate strings),
and many soundholes, this guitar support the theory about the Arabic origin of the
Instrument due to his similitude with the Arabic oud. The guitarra latina had a flat
back, a narrower neck, only one soundhole, three or four courses of strings and a
headstock similar to a violin4. The qualifiers moresca and latina had been dropped by

                                                                                                               
1 “Guitar by Turnbull, Harvey and Sparks, P,” accessed 21.03.2012
http://www.oxfordmusiconline.com/subscriber/.
2 Henry George Farmer, Historical facts for the Arabian musical influence (New York: Arno Press
1978), 137-144.
3 Eloy Benito Ruano, Tópicos y realidades de la Edad Media (Madrid: Real Academia de la Historia
2000), 79.
4 Francisco Javier Ruz Mata, “Recorrido pedagógico a través de la guitarra renacentista,”
Temas para la Educacion. N° 6 (2010): 5-7.
the 14th century and these two instruments were simply referred to as guitars5.

2.2 The Vihuela

By the 15th and 16th centuries the Vihuela became the most important plucked string
instrument in Spain both classical music and popular music, hence many of the
knowledge about the secular music6. The Vihuela was a guitar-like body instrument
with six courses (each course consisting of two separate strings) made of catgut and
was tuned in fourths, almost like a modern guitar, with the exception of the third
string, which was tuned a semitone lower: e, a, d, f#, b, e. Some of the Spanish
composers for the instrument are Luis de Milán, Luis de Narváez, Alonso de
Mudarra, Enrique de Valderrábano, Miguel de Fuenllana, Diego Ortiz and Antonio de
Cabezón.

The Vihuela was popular in Spain and Italy just for a short period; in 1576 appeared
the last surviving published music for Vihuela. Meanwhile the five-course baroque
guitar, which was documented in Spain from the middle of the 16th century, enjoyed
popularity, especially in Spain, Italy and France from the late 16th century to the mid
18th century7.

2.3 The Baroque Guitar

The Baroque Guitar was smaller than a modern guitar, had gut strings, the frets were
also usually made of gut, and tied around the neck. At the beginning the instrument
had four-courses and another one was added later. Each course consisting of two
separate strings although the first (highest sounding) course was often a single string.
The invention oft he five-course had been attributed to the music and poet Vicente
Espinel. This Attribution was made by Lope de Vega, which was refuted by Nicolao
Doici de Velasco (1640) and Gaspar Sanz (1684)8.

                                                                                                               
5 Tom Evans and Mary Anne Evans, Guitars: From the Renaissance to Rock (New York: Paddington
Press Ltd 1977), 16.
6 Francisco Javier Ruz Mata, “Recorrido pedagógico a través de la guitarra renacentista,”
Temas para la Educacion. N° 6 (2010): 9.
7 Tom Evans and Mary Anne Evans, Guitars: From the Renaissance to Rock (New York: Paddington
Press Ltd 1977), 16-24.
8 Francisco Javier Ruz Mata, “Recorrido pedagógico a través de la guitarra renacentista,”
Temas para la Educacion. N° 6 (2010): 16.
The role in early music performances of the Baroque Guitar was often as rhythm
instrument in ensemble as solo instrument as the Often was baroque guitar used as
rhythm instrument, this could be appreciated in the music collection for baroque
guitar from Gaspar Sanz Instruccion de Musica sobre la Guitarra Española9.

2.4 The 19th century’s Guitar

By the 19th century the Guitar suffered his last considerable modification; the
addition of a sixth string (a bass E) and the conversion of all courses to single strings.
The invention of the 6th string is often attributed to the Italian luthier Maestro
Fabbricatorello in Naples. “Giuliani demonstrated the invention of the 6th string, due
to Maestro Fabbricatorello in Naples..."10.

By the end of the 19th century Antonio Torres Jurado (1817-1892), a Spanish guitarist
and luthier, considered „The most important Spanish guitar maker of the 19th
century“ 11, perfected the symmetrical design oft he guitar. He made considerable
change on the internal design oft the guitar’s top in order to prove that the top was
the relevant par tot the guitar for his sound. The guitar, which he built with back and
sides of papier-mâché to demonstrate his theory, resides in the Museo de la Musica
in Barcelona, Spain 12. The guitars nowadays are derivatives of the Torres’s one.

3 Guitar’s Methods of the 19th & early 20th centuries

As follows it will be introduced some of the guitar methods from the 19th until the
early 20th century. It is interesting to observe that after some centuries many aspects
of the guitar method did not change at all nowadays. Pedagogical works of some
relevant guitar composers will not be considered, because there are more a collection
of etudes than a properly method.

                                                                                                               
9 Gaspar Saenz, Instruccion de musica sobre la guitarra española, reproducción en facsimil de los
libros primero y segundo de la tercera edición (1674) y del libro tercero de la edición octava, (1697)
(Zaragoza: Institucion Fernando el Catolico 1979).
10 T. Heck, Mauro Giuliani: Virtuoso Guitarist (Columbus OH: Editions Orphee 1995), 7.
11 R.E. Bruné, 1883 “Antonio de Torres No. 52,” Vintage Guitar September (2011): 84–88.
12 Stefano Grondona, La Chitarra di Liuteria, Masterpieces of Guitar Making (Sondrio: L'officina del
libro 2001), 58-61.
With the establishment of the modern guitar design by the 19th century appear the
first methods for the instrument. It is interesting to observe that after many years a
lot of aspects of the guitar’s methods did not change at all nowadays. The Spanish
guitarists Fernando Sor (1778 - 1839) Dionisio Aguado (1784 - 1849), the Italian
guitarists Mauro Guiliani (1781-1840), Mateo Carcassi (ca.1792-1853) Ferdinando
Carulli (1770-1841), Luigi Legnani (1790 – 1877) and the French guitarist Napoleón
Coste (1806 - 1883) composed several works with a pedagogical character. But only
Carulli, Carcassi and Aguado made a properly guitar methods in addition to many
etudes.

By early 20th century appears the work of Emilio Pujol (1886–1980) Escuela
razonada de la guitarra. Emilio Pujol studied under the guidance of Francisco
Tárrega y Eixea (1852 -1909). Francisco Tárrega was the most important guitarist by
the lately 19th Spanish; he was teacher of many important guitarists from the early
20th century like Miguel Llobet, Daniel Fortea y Emilio Pujol13 .

3.1 Methode complete. Divisee en trois parties Op.59

Mateo Carcassi (ca.1792-1853)
The guitar method of Mateo Carcassi is divided mainly in tow parts. The first one
called “Elementary Principle of Music” explained the basic music theory subject:
notation, harmony, dynamic etc. The second part is divided in three sections. On the
first one issues related to the guitar’s operation are explained: tuning, parts of the
guitar, fingerboard positions, nails and how to hold the guitar, the right hand and left
hand mechanisms are explained. In this section the all the notes of the first position
of the fingerboard are showed and appears some exercises in order to memorize and
all the notes. Upon this the way to play chords and arpeggios on the guitar are
introduced, the explanation is followed with a few exercises and examples.

                                                                                                               
13 José Antonio Clemente Buhlal, “El contenido melódico en la enseñanza de la guitarra” (PhD. diss.,
Universidad de Murcia, 2002), 288-290.
The second section of the second part called “Scales, Cadences Exercises and Pieces”
introduces a specific scale, a cadence in the respective tonality and an arpeggio’s
exercises and a small piece. This procedure will be repeated on the whole second
section.
The last section of the second part is composed of 50 progressive Etudes from easy to
hard level. As follows the first Etude (next page).
3.2 Mèthode complète de guitare ou lyre
Ferdinando Carulli (1770-1841)
Ferdinando Carulli published his Mèthode complète de guitare ou lyre op. 27 in Paris
circa 1810. The structure is very similar to Carcassi’s method. It begins with a section
about music theory, where he only talks about notation and tuning oft he guitar. On
the second part he explains how to hold the guitar and the operation oft he right and
left hand. Immediately the first notes on the first position on the fingerboard are
introduced followed by six exercises. Upon this the way to play chords and arpeggios
on the guitar are introduced, the explanation is followed by a few exercises and
examples.
After this sections it must be understood, the student is able to learn scales, chords
and arpeggios in different tonalities and to apply this information in small pieces and
Etudes. The last part introduces a scale, arpeggios on the main chords of the
introduced tonality and small piece or etude also in the same tonality. The method is
39 lengths and at the end of it, it is expected the student be able resolve the technical
difficulties of the last etude (next page).
3.3 Nuevo Metododo de Guitarra Madrid 1843
Dionisio Aguado (1784-1849)
The composer and guitarist Dionisio Aguado was born in Madrid. In 1820 he
published his first collection of studies for guitar Colección de Estudios para
Guitarra which was the basis fort his last pedagogical work Nuevo Metodo de
Guitarra published in Madrid 1843.

The Nuevo Metododo de Guitarra consists in two big parts. In order to explain the
way to work on his method, he dedicates the first section of the method to theoretical
issues. Aguado puts a lot of emphasis in the process to learn and not only in what to
learn. The second part has a more practical character and contains 46 studies
organized in a not easy-hard sequence. Many difficult level studies appear very soon
in the sequence, since the author is the opinion, the student must confront high
technical difficulties in order to improve his technic14 .

The first part of the method is divided in three sections. On the first section the
different parts of the guitar, the correct position of the guitar and the use of nails
(with or without) are explained. On the second part Aguado also talks about the
importance of the selection of the instrument, the selection of the concert hall and he
even talks about the position of the guitarist on the concert hall.

On the last section of this part he explains basic music theory concepts applied to the
guitar. He remarks the chromatic character of the guitar and exposes the basic
harmony concepts on the instrument trough the hole fingerboard: intervals, chords
and scales. As result of it, he presents the guitar as an instrument, which could be
divided in positions trough the fingerboard. Aguado sets 13 rules to learn and apply
some patterns of fingering in order to be able to play any scale, any chord and any
interval in any place of the fingerboard15.

On the first part he tries also to established a exactly glossary about the terms related
to the instrument, maybe in order to be sure, all his ideas can be completely
understood.

The second part of the Nuevo Metodo de Guitarra is divided in five sections. On the
first he talks about technical and aesthetic elements. Aguado confers special
importance to the sequence of the activities; he emphasises the studied of the
technical issues before to proceed with the musical issues.

In the first section it is explained how to execute the different technics of he guitar:
Slurs, Thrills, Arpeggios, Flageolet, etc. The technical aspects are followed for small
                                                                                                               
14 José Antonio Clemente Buhlal, “El contenido melódico en la enseñanza de la guitarra” (PhD. diss.,
Universidad de Murcia, 2002), 255.
15 Ibid., 256.  
exercises. On the second section appears more exercises in order developed or the
technical issues oft he section anterior. The third section contains only Studies. It is
interesting to observe that Aguado wrote the hole fingering oft he left hand but not
oft he right hand. The complete fingering oft he right hand was added in an
Appendix.

The forth section is called De la Expresion. This part consists to explain the
execution of different musical signs related to the interpretation: dynamics, tempo,
articulation etc. The last part developed the introduced idea on the first part about
the possibility to play any chord, scale and interval trough the whole fingerboard
using some fingering patterns.

3.4 Escuela Razonada de la guitarra. Basada en los principios de

Tarrega
Emilio Pujol (1886–1980)

Emilio Pujol studied under the guidance of Francisco Tárrega y Eixea (1852 -1909)
and tried to transmit the principles of the Francisco Tarrega’s guitar technic and
conceived his guitar method in 1923 16.

The method of Pujol is divided in three big sections. The first section is called Primer
Curso, again here, the author dedicate this part to theoretical issues. In this case,
Pujol talks only about the guitar and omit musical theory subjects. He deals intensely
with the different aspects of the guitar: parts and construction of the guitar, choice of
a guitar, how to hold the guitar, the sound quality, special notation for the guitar,
fingering, position of the hands and how to practice. Also Pujol talks in his work
about the psychology of the guitarist, the structure and goals of his method.

On the second part of the method are included the Segundo Curso, Tecer Curso y
Cuarto Curso. The whole second part introduces all the different technics of the
instrument and a lot of exercises are included. In contraposition with the methods of
the 19th century, the number of purely technical exercise is increased substantially.
                                                                                                               
16 Emilio Pujol, preface to Escuela Razonada de la guitarra. Basada en los principios de Tarrega I,
(Buenos Aires: Ricordi Americana 1956), I-VI.
The formula; scale + cadence (chords & arpeggios) + etude are not repeated here.
Pujol emphasize the technical exercises due to develop the technical skills. He is
convinced that is not enough the simple explanation of the execution of a
movement17.

The last part called Virtuosidad is dedicated to more exercises to developed the
different technics of the previously books in order to give the student the tools to
control completely the instrumental technic18. This part contains also some Etudes
from the Author and others guitarist composers.

As it can be see it, all the introduced guitar methods are very similar in their
structure. The structure could be represented in the next way:
Section Issue Development
First Part Theoretical Issues Theoretical
Second Part Theoretical-Practical Issues Theory –Exercise- Small Piece

This structure responds to the authoress’s idea to develop a method, which can guide
the student from the begin level until to the advanced level or even professional level,
as Pujol says19.

The more significant difference between these methods is the extension of the
sections. The explanation of any issue is larger by Pujol and Aguado than by the
other authors. The technical exercises and musical exercises are increased by Pujol
and Aguado, it could be appreciated a more pedagogical sense to proceed. They
include more advices due to make easier the work of the student and to reach the
established goals; precise fingering is included, practicing procedures are discussed,
execution mechanisms related to a technic or exercise are extensively explained.

It is interesting to observe, all the authors include composed the musical exercises
and etudes, which are included on the methods. Only Emilio Pujol includes pieces or
                                                                                                               
17 Emilio Pujol, preface to Escuela Razonada de la guitarra. Basada en los principios de Tarrega IV,
(Buenos Aires: Ricordi Americana 1956), I-VIII.
18 Emilio Pujol, preface to Escuela Razonada de la guitarra. Basada en los principios de Tarrega I,
(Buenos Aires: Ricordi Americana 1956), I-VI.
19 Ibid.
etude from another well know guitar composers, but only on the last part of his
method.

4 Three Guitar’s Methodos for Chilndren and Teenenger

4.1 Fridolin, Eine Schule für junge Gitarristen – Band 1
Hans Joachim Teschner (1945)
The German guitar teacher Hans Joachim Teschner conceived Fridolin. Teschner
studied Economy, Social Science and Music in Hamburg and Bremen, Germany. He
works as guitar teacher at the Kreismusikschule Friesland since 1976 and at the
University Oldenburg since 1978. During his Studies he plays in diverse Rock bands,
in a Jazz Big Band and at the Music Theatre.

His first publication is from 1980: Weinachtsliedsammlung (Christmas Carol) Jingle

Bells. Die idea to publish it came during the Christmas’s season, when the Author was
looking for Christmas Carol version for younger guitarists (from 7 years old) but he
could not find any appropriate20.

In 1987 the Heinrichshofen’s Verlag published the first edition of Fridolin – eine
Schule für junge Gitarristen-. The book contains 115 Pieces-Exercise form easy level
to advanced level. Almost all the Pieces-Exercises are recorded are recorded on the
CD, which is included in lasted editions. Fridolin was very well received due to his
new concept (compared to existing methods) and in short time became a reference
for the guitar pedagogy, especially in music21. In the following years appear a wide
Fridolin’s publication series: Spielbücher, Liedbegleitung, and Lehrwerk.
“…Kinder- und Scherzelieder, Folklore aus Deutschland un der ganzen Welt
ersetzen dabei langweilige Übungen”22.

4.2 Meine Gitarrenfibel Ein fröhliches Lehr- und Spielbuch für Kinder.
Band1. Heinz Teuchtert (?)
Meine Gitarrenbfiebel has been developed by Heinz Teuchert. The method is divided
                                                                                                               
20 “Komponist H. J. Teschner,” accessed 18.03.2012 http://www.fridolin-gitarre.de/23-0-Komponist-
H--J--Teschner.html.
21 Ibid.
22 Hans Joachim Teschner, Fridolin. Eine Schule für junge Gitarristen. Band 1 (Wilhemshaven:
Heinrichshofen’s Verlag 1990), 4.
in two diferent Books: Meine Gitarrenfibel Teil 1 and Meine Gitarrenfibel Teil 2. The
book was designed for individual or group lessons for children from 6 years old to 11
years old. Meinte Gitarrenfibel contains 40 pieces-exercises and the first edition was
published in 1994 by G. Ricordi & Co.

Together with the student’s book there is a teacher’s book, which “contains the
accompaniment parts for some lessons of the student’s book, some advices for the
lesson and some guitar’s dances for student and teacher conceived to improve the
alternative stroke technic and appropriate for school’s auditions23.”
“Lieber Kinder,
Gitarrenspielen macht Spaß! Es ist wirklich toll, was sich mit der Gitarre alles
anfangen last, Mann kann darauf die schönsten Melodien spielen oder sich
selbst und seine Spielkameraden zum Singen begleiten24.”

4.3 Play Guitar, Gitarrenschule - Teil 1 –

Michael Langer (1959) & Ferdinand Neges (?)
Michael Langer is an Austrian guitarist, musician, author, teacher and composer. He
teaches at the conservatory in Vienna and has been qualified as a university lecturer
at Anton Bruckner University in Linz. He has recorded four solo albums:
'Fingerstyle', 'Crossing Over', 'Homespun Groove' and 'Copy and Merge'. He has
published almost 40 issues on guitar playing and he is one of the best-selling authors
on this subject25. He studied at the conservatory of Vienna and took part at a lot of
international courses and joined ensembles playing all kinds of different styles of
guitar music.

Ferdinand Neges studied at the music university Graz and Wien. He plays regularly
as soloist and in ensembles. He has recorded CD’s with contemporary music.
Ferdinand Neges works as Arranger, Editor and Composer by Doblinger Publishing.

                                                                                                               
23 Heinz Teucher, Meine Gitarrenfibel. Band 1. Ein fröhliches Lehr- und Spielbuch für Kinder
(München: G.Ricordi & Co. 1994), 3.
24 Ibid., 2.
25 “About me," accessed 17.03.2012
http://www.michaellanger.at/en/index.php?option=com_content&view=article&id=9&Itemid=8.
In 2002 Doblinger Verlag published the first edition of Play Guitar 1. The method
contains newly arranged and composed music material in different music styles. The
96 new pieces “von Klassik bis Pop”26 are recorded on the included CD. The whole
Book is organized from basic issues to advance issues. Numerous illustrations are
included in order to explain some technical subjects.
“Play guitar bietet eine große Vielfalt an Kompositionen und Arrangements,
welche die stilistische Bandbreite des Gitarrenspiels schon Anfängern
zugänglich machen soll”27.
“Play Guitar' ist ein musikalisches, didaktisches und visuelles Meisterwerk!
(Akustik Gitarre)28.

5 Critical analyses
5.1 The methods structure
If we analysed the structure of these Methods, we will notice that there is any
difference at all compare to the methods oft he 19th and early 22th century. All oft
hem can be divided in two mainly sections .The first one is short and deal with
theoretical subjects: parts oft he guitar, how to hold the guitar, right hand position,
strings names, notes on the first position (first fours frets). This section also contains
Illustrations to support the given information. In addition the authors wrote some
words about how to use the method and the method’s concept. In Meine
Gitarrenfibel the author add some words to the children, teacher and parents. At the
end of this section all the authors explains the quarter note, half note and the whole
note.
Methode Section Pages
Fridolin Theorie 4-13
Meine Gitarrenfibel 1 Theorie 2-9
PlayGuitar 1 Theorie 4-13

The second section concerns to practical issues. Here the student learn basically all
the notes oft the guitar on the first fingerboard’s position. Some music theory
elements and guitar technics are introduced during this section: eight note, different
                                                                                                               
26 Michael Langer and Ferdinand Neges, Play Guitar. Gitarrenschule 1 (Wien: Doblinger 2003), 4.
27 Ibid.
28 “LANGER, Michael / NEGES, Ferdinand - Play Guitar Vol. 1,” accessed 17.03.2012
http://www.doblinger-musikverlag.at/Komp/index.php?sp=2.
quarter-half-whole rest, sharp & flat symbol, fingering basic concepts, apoyando &
tirando stroke29, one line melody technic, two lines melodies technic (only by
Fridolin and PlayGuitar).
Methode Section Pages
Fridolin Practice 14-71
Meine Gitarrenfibel 1 Practice 10-39
PlayGuitar 1 Practice 14-68

All the authors includes self composed and traditional songs from different countries:
Fridolin 42 songs, Meine Gitarrenfibel 27 songs, 10 exercises, 2 songs to be
completed by the student, GuitarPlayer 96 songs.

5.2 Procedures and Goals

If we compare the structure and method’s conception, we find that the goal of the 19th
& early 20th centuries’ methods is to guide the student from a begin level until an
advance or professional level. We can also see that the student age is not considered
by these methods, or at least it does not play a decisive role.

In the case of the children methods they have been clearly conceived as beginner
methods to be use in the context of instrumental lessons guided by a teacher. The
student’s age and the teacher’s support are also crucial for the conception and
development’s method. For these reasons and according to the today pedagogical
tendencies, the beginner method’s goal should be:
“ …(das Kind) aus kindgemäße Weise in das Instrumentalspiel einzuführen
sowie eine gute Basis zu schaffen und Interesse für eine weiterführende
Ausbildung der instrumental technischen Fähigkeiten und künstlerischen
Entwicklung zu wecken30.”

On the other hand it is well know that the pedagogy has been profoundly developed
since the lately 20th century. Nowadays there is a pedagogical line, which emphasise
the “enjoy factor” by the instrumental lessons. “Zunhemende Spaß-Orientierung des
                                                                                                               
29 To perform apoyando, the finger rest against the next upper string as he complete the stroke, to
perform tirando the finger do not rest against the next upper string as he complete the stroke.
30 Irmhild Beutler and Sylvia C.Rosin, “Wenn das Sück sich so schön ringelt. Kriterien für
Lieblingsstücke im Anfangsunterricht,” Üben & Musizieren 3 (2005): 30.
Instrumeltal unterrichts, Spaß im und am Unerricht zu initieren, ist die
primäreZielsetzung dieses pädagogisches Ansatzes31. ”

The structure, design and musical material in Fridolin, Meine Gitarrenfibel and
GuitarPlayer are selected In order to reach the “enjoy factor” during the
instrumental class (cambiar notas de los metodos aesta parte), to generate a long-
term student’s motivation.

In all the cases, the design attempts to be attractive for the students. Since these
methods are directed to children, many Illustrations with animals, toys, clowns,
children, etc. are included. Some illustrations also have the purpose to make clearer
some technical aspects: the notes’ position on the guitar, the hands’ position, etc. The
length of the book is not too big, the layout of the notes and text is simple and
confortable to the eyes. The musical material is also directed to the children; almost
all the self-composed songs have lyrics, which suppose to be funny. In the case of the
traditional songs, most of them are also children’s songs.

Since the children’s’ guitar methods does not have the final aim to former advanced
students or much less professional guitarists as the 19th & early 20th centuries’
methods, Fridolin, Meine Gitarrenfibel and PlayGuitar introduced only the
elementary principle of music, which are necessary to understand the diverse parts of
the method. They are explained as short and simple as possible, so that the attention
and effort of the student can be focussed on the practical aspects of the instrument.

In the children’s guitar methods still present the 19th & early 20th methods idea to
develop the practical section: the model, “theory-musical exercise–small piece” (by
Pujol sometimes technic exercise instead musical-exercise). By the 19th methods a lot
music theory and guitar’s technic information was provided, the “musical exercises-
small pieces” were only a few before continue with the next new issue. By the early
20th method the “musical exercises-small pieces” were increased and pure technical
exercises were added for the first time in order to perfect the mechanical skills

                                                                                                               
31 Eva Genari, “Ein bisschen Spass muss sein, Über die zunehmende Spas-orientierung des
Intstrumentalunterrichts” Üben & Muzisieren 5 (2010): 46.
But the children’s guitar methods find a compromise between the 19th and the early
20th methods. The provided music theory and guitar technic information is not too
extensive, the “musical exercises-small pieces” are increased and the technical
exercises without a musical context are avoided mostly.

The approach to the musical material is also similar in all the cases. The self-
composed songs cover almost of the method’s musical material. In addition to the
obviously difference that the self-composed songs by the children’s guitar methods
are not too complicate due to they are a beginners’ methods. As it has mentioned the
musical material is directed to the children; almost all the self-composed songs have
lyrics.

5.3 The musical material

Self-composed songs are a very important source for the pedagogical objectives of an
instrumental method, since there specific designed to develop a certain technical
skill. Meanwhile not self-composed songs very often must be adapted in order to
reach a pedagogical objective. But on the other hand another kind of musical material
are expected by the guitar students.

Frequently the guitar is linked with Rock, Pop or World Music (Flamenco music,
Latin music), for this reason is not a surprise that the guitar student assume they will
learn that kind of music during the guitar lessons or trough a guitar method.
Und selbdsverständlich ist z.B. die Violine in Mitteleuropa eher ein istrument
zur Darstellung der Musik Vivaldis oder Mozarts als ein Instrument der
Volkmusik oder gar des Rock oder Jazz…32”

Nowadays the Pop Music is closer to the children than the children’s songs, which are
provided in the children’s guitar methods like “kommt ein Vogel geflogen”. Pop
Music is present in the different sphere of the daily children’s life, for this reasons
children expect to learn the music, which they regularly hear. “Jugendlichen

                                                                                                               
32 Peter Röbke, “Jugendlkultur und Musikschule” Üben und Musizieren 6(1999): 8.
Blockfötenschülerinnen(...) erzählen sie oft, dass sie nur die lieder gerne gespielt
haben, deren Melodie sie schon kannten.33”

The authors of the children guitar methods affirm, that the included musical material
are funny and cover different music styles in order to replace boring exercises. In
spite of it, it seems that the musical world of the music teacher and student still are
very different.
“Viele Instrumentalschuler leben in zwei musikalischen Welten. Mehr oder
minder engagiert üben sie die „unterrichtsliteratur“, die von der Lehrkraft
oder zusammen mit ihr ausgewählt wurde.Daben gibt es die ureigene Musik
der persönlichen Vorlieben: Musik, bei der man sich entspannt, träummt,
tanzt, begeistert, weint oder isch feut: Musik, die gehort wird, wenn man mit
isch allein oder mit freunden zusammen ist.34”

That is why, the musical material of these guitar methods don’t stimulate the
motivation of the guitar students. On the contrary, it the selected musical material
would be the same that belong to the children’s daily life, the motivation could be
substantially increase.
die reaktion von eltern, geschwistern und FreundInnen beeinflusst die
Schülerinen. wenn sie merken, dass die stucke die sie spielen, gerne angehort
werden und bei Schulervorspielen Anklang finden, wird auch das die
Motivation fördern35.”

In addition to the motivation, with the inclusion of the Pop Music another aspects
can be developed. It must not forget, that the Pop Music is closely linked with the
physicality36, so that this music style could contribute to the motor skills
development. Lastly facets of the instrument, which are ignored by the reviewed
children’s guitar methods, could be explored: the guitar as accompaniment
instrument or the guitar as percussive instrument.

                                                                                                               
33 Irmhild Beutler and Sylvia C.Rosin, “Wenn das Sück sich so schön ringelt. Kriterien für
Lieblingsstücke im Anfangsunterricht,” Üben & Musizieren 3 (2005): 31.
34 Ulrich Mahlert, “Lieblingstucke,“ Üben & Musizieren 03 (2005): 1.
35 Irmhild Beutler and Sylvia C.Rosin, “Wenn das Sück sich so schön ringelt. Kriterien für
Lieblingsstücke im Anfangsunterricht,” Üben & Musizieren 3 (2005): 32.
36 Peter Röbke, “Jugendlkultur und Musikschule” Üben und Musizieren 6(1999): 10.
But not only the Pop Music are ignored by these children’s guitar methods, also the
nowadays children’s songs, which they play and sing daily with his friends at the
school or at home are ignored. It s not hard to imagine, that the children will prefer
to play a children song, which they play and sing on their daily life as a unknown
children song composed by a adult.

If there is so many Advantage by using Pop Music and children’s song created by the
children, why is that kind of music not included in the children’s guitar methods?.
Maybe the answer does not have to do with pedagogical reasons, but with
bureaucratic and tradition.
“Andereseits ist die musikschule aus historischen wie pragmatischen Gründen
nach wie vor eine Stätte zur Pflege der abendländsichen Kunstmusik;
instrumentale Fertigkeiten werden anhand der Befassung mit traditioneller
Musik entwickelt; instrumentale Fertigkeiten sollen isch in der adäqueten
Dartstellung von Werken erweisen37.”

                                                                                                               
37 Peter Röbke, “Jugendlkultur und Musikschule” Üben und Musizieren 6(1999): 7.
Bibliography
• Beutler, Irmhild and Sylvia C.Rosin. “Wenn das Sück sich so schön ringelt.
Kriterien für Lieblingsstücke im Anfangsunterricht.” Üben & Musizieren
03(2005).
• Bruné, R.E. “1883 Antonio de Torres No. 52.” Vintage Guitar September (2011):
84-88.
• Clemente Buhlal, José Antonio. “El contenido melódico en la enseñanza de la
guitarra.” PhD. diss., Universidad de Murcia, 2002.
• Evans, Tom and Mary Anne Evans. Guitars: From the Renaissance to Rock. New
York: Paddington Press Ltd, 1977.
• Farmer, Henry George. Historical facts for the Arabian musical influence. New
York: Arno Press, 1978.
• Genari, Eva. “Ein bisschen Spass muss sein, Über die zunehmende Spas-
orientierung des Intstrumentalunterrichts.” Üben & Muzisieren 5(2010).
• Grondona, Stefano. La Chitarra di Liuteria, Masterpieces of Guitar Making.
Sondrio: L'officina del Libro, 2001.
• Heck, T. Mauro Giuliani: Virtuoso Guitarist. Columbus OH: Editions Orphee,
1995.
• Langer Michael und Neges, Ferdinand. Play Guitar. Gitarrenschule 1.Wien:
Doblinger, 2003.
• Mahlert, Ulrich. “Lieblingstucke.“ Üben & Musizieren 03 (2005).
• Pujol, Emilio. Escuela Razonada de la guitarra. Basada en los principios de
Tarrega. Buenos Aires: Ricordi Americana, 1956.
• Röbke, Peter. “Jugendlkultur und Musikschule.” Üben und Musizieren 6(1999).
• Ruano, Eloy Benito. Tópicos y realidades de la Edad Media. Madrid: Real
Academia de la Historia, 2000.
• Ruz Mata, Francisco Javier.”Recorrido pedagógico a través de la guitarra
renacentista.” Temas para la Educacion. N° 6 (2010).
• Saenz, Gaspar. Instruccion de musica sobre la guitarra española, reproducción
en facsimil de los libros primero y segundo de la tercera edición (1674) y del libro
tercero de la edición octava, (1697). Zaragoza: Institución Fernando el Católico,
1979.
• Teschner, Hans Joachim. Fridolin. Eine Schule für junge Gitarristen. Band 1.
Wilhemshaven: Heinrichshofen’s Verlag, 1990.
• Teucher, Heinz. Meine Gitarrenfibel. Band 1. Ein fröhliches Lehr- und Spielbuch
für Kinder. München: G.Ricordi & Co., 1994.

Website
• Doblinger Musik Verlag. “LANGER, Michael / NEGES, Ferdinand - Play Guitar
Vol. 1.” Accessed 17.03.2012. http://www.doblinger-
musikverlag.at/Komp/index.php?sp=2.
• Fridolin. “Komponist H. J. Teschner.” Accessed 18.03.2012. . http://www.fridolin-
gitarre.de/23-0-Komponist-H--J--Teschner.html.
• Groves Online Dictionary. “Guitar by Turnbull, Harvey and Sparks, P.” Accessed
21.03.2012. http://www.oxfordmusiconline.com/subscriber/.
• Michael Langer. “About me.” Accessed 17.03.2012.
http://www.michaellanger.at/en/index.php?option=com_content&view=article&i
d=9&Itemid=8.