Classical Guitar Technique • A Selected Bibliography

Classical Guitar Technique • A Selected Bibliography

Peter Kun Frary, Professor of Music • University of Hawaii, Leeward

Technical Tips • Introduction • Bibliography

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 . Al though the author wrongly 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.

http://emedia.leeward.hawaii.edu/frary/classic_gtr_bio.htm[18/08/2014 7:55:39]
Classical Guitar Technique • A Selected Bibliography

Cordero, Federico . "Avoiding the Zip and Bump

Effect: A proposal." Soundboard 5, no. 2 (1978): 51-
53.

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 exposition and methodological 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. "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.

http://emedia.leeward.hawaii.edu/frary/classic_gtr_bio.htm[18/08/2014 7:55:39]
Classical Guitar Technique • A Selected Bibliography

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&emdash;101.

Fox, Gregory. "Guitar Forum: Guitar Technique."

American String Teacher 28 (Winter 1978): 24.
A brief 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.

Green, Richard. "Guitar Forum: Some Thoughts on

http://emedia.leeward.hawaii.edu/frary/classic_gtr_bio.htm[18/08/2014 7:55:39]
Classical Guitar Technique • A Selected Bibliography

Fingering." American String Teacher 29 (Spring

1979): 40-41.
A short 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.

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.
Focuses 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

http://emedia.leeward.hawaii.edu/frary/classic_gtr_bio.htm[18/08/2014 7:55:39]
Classical Guitar Technique • A Selected Bibliography

fingerings included .

Marriott, David M. "Some Notes on the Advantages

of Planting." Soundboard 9 (Spring 1982): 52-53.
A 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. The
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 .

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

http://emedia.leeward.hawaii.edu/frary/classic_gtr_bio.htm[18/08/2014 7:55:39]
Classical Guitar Technique • A Selected Bibliography

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. 

©Copyright 2000 by Peter Kun Frary • No part of this site may be

reproduced without permission from the copyright owner.

Technical Tips • Introduction • Bibliography • Next Page

http://emedia.leeward.hawaii.edu/frary/classic_gtr_bio.htm[18/08/2014 7:55:39]