Classical Guitar Technique: A Selected Bibliograpy | Peter Kun Frary

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Anderson, Neil. "Aim Directed Movement." Guitar and Lute, July 1980, p. 24-25.

An illuminating discussion on how to practice transitions between notes, as opposed to practicing notes themselves. Useful comments on developing other aspects of practice and study habits are included.

Artzt, Alice. The Art of Practicing. London: Musical News Services, Ltd., 1978. 28 p.

Fundamental principles of guitar technique are discussed in concise form. This booklet is divided into three sections: 1) an essay on developing efficient practice habits, 2) explanations of left-hand and right-hand fingering techniques, and 3) a list of common pitfalls and their remedies. A valuable and informative work, lacking only in the use of graphics to complement the writing. Reviewed by Tom Vollmer in Guitar and Lute, September 1978, p. 39.

Bliven, Frank."The Right Hand: Alternative Approaches." Guitar and Lute, October 1979, p. 11+12.

Three approaches to right-hand technique are briefly examined and evaluated according to musical and historical criteria. This article would be useful for a guitarist considering to play the lute, baroque guitar, or classic period guitar using authentic technique.

Bobri, Vladimir. The Segovia Technique. New York: Macmillan, 1972; reprint ed., New York: Collier, 1980. 94 p.

A guide to the history of the guitar, guitar composers/virtuosos and the technique of Segovia. External aspects of Segovia's technique are briefly examined: sitting position, tone production, left-hand, pizzicato and harmonics. Contains a short bibliography of selected studies and brief biographical notes on Aguado, Sor, Carulli, Giuliani, Carcassi, Tarrega, Villa-Lobos and Segovia. Many excellent illustrations, but historically incomplete and sometimes misleading. Reviewed in Guitar Player, September 1980, p. 90.

Bogle, James. "Guitar Forum: A Rationale for Fingering." American String Teacher 32 (Winter 1982): 30-31.

Examples from Bach's First Lute Suite are subjected to structural analysis in an effort to determine the best left-hand fingerings. Although the author incorrectly attributes problems of clarity and expression to poor left-hand fingerings only, the information is useful if taken in perspective: left-hand fingerings represent one technique among several that effect clarity and expression.

Contreras, Antonio de. The Technique of David Russell: 165 Pieces of Advice from a Master Guitarist. CreateSpace Independent Publishing Platform, 2015. 30 p.

Cordero, Federico. "Avoiding the Zip and Bump Effect: A proposal." Soundboard 5, no. 2 (1978): 51-53.

Desrosby, Jean-Francois. Classical Guitarists: Unlock Your Potential! Jean-Francois Desrosby, 2011. 102 p.

Duarte, John. The Bases of Classical Guitar Technique. Sevenoaks, Kent: Novello, 1975. 36 p.

Duncan, Charles. "About Vibrato." Soundboard 5, no. 3 (1978): 69-72.

Duncan, Charles. The Art of Classical Guitar Playing. Princeton: Sunny-Birchard Music, 1980. 132 p.

A systematic discussion of guitar technique. The rationale behind technique is derived from an established ideal of a good sound and the principles of physics and anatomy that allow the simplest route to that sound. The work is organized into eight chapters: "The Principle of Functional Tension," "The Left-Hand," "Right-Hand Position," "Nail Filing," "Articulation," " Coordination and Velocity, " "Expressive Devices" and "The Art of Classical Guitar Playing." One of the most useful and comprehensive books of its type available. Reviewed by Leonard A. Blum in Soundboard 8 (May 1981): 107-8.

Duncan, Charles. "Articulation and Tone--Some Principles and Practices." Guitar Review, no. 46 (Winter 1979), p. 7-9.

Suggestions for developing an intuitive, reliable touch that produces consistently beautiful tone.

Duncan, Charles. Classical Guitar 2000: Technique for the Contemporary Serious Player. Alfred Music, 1993. 96 p.

Exercise material for Duncan's The Art of Classical Guitar Playing.

Duncan, Charles. "Corrective Filing of Problem Nails." Guitar Player, August 1979, p. 40.

Duncan, Charles. "Functional Tension and the Prepared Attack." Soundboard 6, no . 1 (1977): 10+11.

Duncan, Charles. "Guitar Forum: A Violin Lesson for Guitar." American String Teacher 27 (Spring 1977): 22.

A description and rationale of stroke preparation. Information and references relevant to the guitar are utilized from modern and historical violin treatises.

Duncan, Charles. "Guitar Forum: The Importance of Goal Conception." American String Teacher 30 (Autumn 1981): 26.

The process of organizing and visualizing components of technique is presented with a diagnosis of common pitfalls and ways of avoiding them. The rationale behind the methods employed and references to further sources of information are included.

Duncan, Charles. "Guitar Forum: Machine--Gun Tremolo." American String Teacher 28 (Summer 1978): 29.

A brief discussion of stroke preparation in tremolo technique.

Duncan, Charles. "Guitar Forum: Nails the Way the String Sees Them." American String Teacher 27 (Autumn 1977): 28.

Clearly stated rationale and technique for finishing and shaping nails according to individual anatomical differences. Illustrations of the various types of nails and the appropriate finished shapes.

Duncan, Charles. "Guitar Forum: The Technique of Interpretation, part 1." American String Teacher 31 (Summer 1981): 27.

The perception of musical structure and the effective communication of that structure through various techniques. The author writes that "what we perceive as a technical difficulty in a piece is often the consequence of our failure to realize a musical pattern."

Duncan, Charles. "Guitar Forum: The Technique of Interpretation, part 2." American String Teacher 31 (Autumn 1981): 18+19.

A discussion of "technical skills that bear upon ability to play with interpretative authority." The control of volume and rhythmic liberties are explained using examples from the guitarist's repertoire.

Duncan, Charles. "Guitar Forum: Thinking, The. American String Teacher 31 (Winter 1981): 39.

A delineation of visualization and preparation in position shifts. Components of fingering and movement are separated in order to produce a clear mental image of the shift. Although there are some suggestions for improving the mechanical aspect of shifting, the information mainly provides an effective method of thought organization.

Duncan, Charles. "The Secret of Effortless Shifting." Guitar and Lute, January 1980, p. 30-31.

The roles of the upper arm, elbow, wrist, hand and fingers in position shifts are defined in a reasoned exposition of principles.

Duncan, Charles. "The Segovia Sound, What Is It?" Guitar Review, Fall 1977, p. 25.

Duncan, Charles. "Staccato Articulations in Scales," part 1. Soundboard 4, no. 3 (1977): 65-66.

Duncan, Charles. "Staccato Articulations in Scales," part 2. Soundboard 4, no. 4 (1977): 100+101.

Fox, Gregory. "Guitar Forum: Guitar Technique." American String Teacher 28 (Winter 1978): 24.

Discussion of three right-hand techniques: economy of movement, the half staccato and arpeggio preparation. A voicing of pedagogical opinions for the benefit of other teachers . Explanations are not sufficient for beginning student use.

Glise, Anthony. Classical Guitar Pedagogy: A Handbook for Teachers. Mel Bay Publications, 1997. 282 p.

Green, Richard. "Guitar Forum: Some Thoughts on Fingering." American String Teacher 29 (Spring 1979): 40-41.

Overview of fingerings organized into four areas: 1) positioning, 2) left-hand fingering, 3) right-hand fingering and 4) slurs. Information consists of general observations and advice for beginners.

Hopman, David D. "Some Ideas on Practicing Villa-Lobos' Etude No . 1 in E Minor." Soundboard 8, no. 2 (1981): 88-91.

Iznaola, Ricardo. Ricardo Iznaola on Practicing: A Manual for Students of Guitar Performance. Mel Bay Publications, 2001. 24p.

Iznaola, Ricardo. Kitharologus: The Path to Virtuosity. Mel Bay Publications, 1997. 128 p.

Iznaola, Ricardo. Summa Kitharologica, Volume 1. The Physiology of Guitar Playing: Functional Anatomy and Physiomechanics. Mel Bay Publications, 2013. 170 p.

Leisner, David. "Breathing Life into Music." Soundboard 5, no. 2 (1978): 50-51.

Lorimer, Michael. "Classical Guitar: An Open-String Exercise." Guitar Player, August 1977, p. 10.

Lorimer, Michael. "Classical Guitar: Fingernail Shape and Length." Guitar Player, February 1977, p. 14.

Lorimer, Michael. "Classical Guitar: Free and Rest Strokes." Guitar Player, July 1977, p. 127.

Lorimer, Michael. "Classical Guitar: Left-Hand Position." Guitar Player, December 1976, p. 101.

Lorimer, Michael. "Classical Guitar: Nail Wear." Guitar Player, May 1977, p. 14.

Lorimer, Michael. "Classical Guitar: Let the Music Guide Your Hands." Guitar Player, January 1977, p. 14.

Lorimer, Michael. "Classical Guitar: Problems in Tone Production." Guitar Player, April 1977, p. 98.

Lorimer, Michael. "Classical Guitar: Producing Good Tone." Guitar Player, June 1977, p. 127.

Lorimer, Michael. "Classical Guitar: Shaping and Polishing Nails." Guitar Player, March 1977, p. 105.

Lorimer, Michael."Master Class." Guitar Player, January 1979, p. 28.
The three Ps: projection, pacing and posture.

Lorimer, Michael."Varying Tone Colors." Guitar Player, November 1977, p. 18.

Focus on eight basic thumb and finger combinations.

Marlow, Janet. "What Every Great Guitarist Knows About Practicing." Guitar and Lute, October 1979, p. 20-23.

A well organized presentation dealing with the development of efficient and productive practice habits. Practice is divided into three sequential stages: 1) musical realization, which involves analysis, 2) technical realization, and 3) mechanical realization. Explanations reinforced with examples from Sor's Etude Op. 35, No. 13. Music and fingerings included.

Marriott, David M. "Some Notes on the Advantages of Planting." Soundboard 9 (Spring 1982): 52-53.

Discussion of right-hand preparation in ascending arpeggios as practiced by the Romero family.

Munson, Larry. "Guitar Forum: Expanding Technique to Improve Reading." American String Teacher 28 (Autumn 1978): 39.

Sight-reading difficulties are attributed to a lack of technical facility and various scales, arpeggios and interval studies are pre scribed to remedy this situation. There is a conspicuous failure to address the more formidable skill of rapid perception as an integral part of the reading process.

Munson, Larry. "Guitar Forum: Developing Position Shifts." American String Teacher 29 (Winter 1979): 42.

General problems of position shifts are identified and presented with two exercises from Pujol's Escuela Razonada de la Guitarra and various technical suggestions. Information suffers in organization and completeness.

Provost, Richard. The Art & Technique of Performance. San Francisco: GSP, 1994. 62 p.

A well written primer on performance preparation for serious student musicians: practicing, performance anxiety, programming, publicity, dress, goals, etc.

Provost, Richard. The Art & Technique of Practice. San Francisco: GSP, 1992. 53 p.
A well written primer on practicing for serious student musicians: preparation, technique, memorization, visualization, note-reading, interpretation, problem solving, listening, and practice schedules and outlines.

Provost, Richard. "Visualization: An Aid to Memorization." Guitar and Lute, July 1981, p. 17-21.

An introduction to the technique of visualizing movements and positions and relating them to the inwardly heard tone. A strong potential for applications in tonal music--further explanation is needed for use in aleatory and some types of atonal music. Rhythmic aspects of memorization are not considered.

Prud' Homme, Bryan. "Fernando Sor: Study in C." Guitar and Lute, November 1977, p. 8+13.

Use of musical analysis to determine the best techniques. Concepts are demonstrated with a brief analysis of Sor's Etude Op. 6, No. 8 and a prescription of appropriate techniques. Includes score and fingerings.

Pujol, Emilio. The Dilemma of Timbre on the Guitar. Buenos Aires: Ricordi, 1960.

Pepe Romero. La Guitarra - A Comprehensive Study Of Classical Guitar Technique And Guide To Performing. Theodore Presser, 2012. 144 p.

Sicca, Mario." A New Look at Vibrato." Guitar and Lute, July 1974, p. 26-27.

The two basic types of vibrato technique, arm and finger vibrato, are discussed in concise form. The components of the technique are separated for mastery in a series of prescribed exercises.

Sherrod, Ronald J. Discovering the Art of Guitar Fingerings. California: Alfred Publishing Co., 1980. 64 p.

A survey of terminology, notation and technique. Techniques are examined from both a physical and musical perspective. Comprehensive as a guide to fingering and as a reference source for most types of fingering notations.

Stearns, Roland H. "Right Hand Lute Technique and Guitarist's History and Modern Reality." Soundboard 6, no. 2 (1979): 42-26.

Stearns, Roland H. "Some Additional Thoughts on Right Hand Lute Technique for Guitarists With a Brief Introduction to Lute Fingerboard Concepts for Guitarists." Soundboard 6, no. 4 (1979): 120+125.

Tanno, John C. "Reflections on Classical Guitar Technique," Soundboard 3, no. 3 (1976): 41-42.

Taylor, John. Tone Production on the Classical Guitar. London: Musical News Service, Ltd., 1978. 80 p.

The process of tone production and its relationship to the mechanical and acoustical properties of the guitar is examined in detail. A well conceived discussion of the physical properties of the instrument is complemented with traditional ideals of technique. Reviewed by Tom Vollmer in Guitar and Lute, April 1979, p. 35.

Tennant, Scott. Pumping Nylon. Van Nuys: Alfred, 1995. 95 p.

Extensive technical commentary and a collection of traditional exercises, warm-ups, folk songs and original études. The technical explanations are clear, often humorous, and revolve around the old school techniques of the Romero family. However, the exercises are extremely valuable for classical guitarists of all levels and technical orientations.

Towner, Ralph & Lagoya, Alexandre. "Right-Hand Damping, Pizzicato & Trills." Guitar Player, November 1995, p. 138-39.

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