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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