Mus 221H • Classic Guitar III

Course description A continuation of Mus 122C, Classic Guitar II. Advanced skills and concepts involving solo and ensemble performance, technique, interpretation, stage etiquette and music literature are addressed. Two credits: 3 hours of class instruction. Prerequisite: Mus 122C or consent of the instructor. This course may be repeated for additional credits. Here's an example of a piece you may learn in this course (Allemande performed by Peter Kun Frary; 1.3MB): El Maestro Professor Peter Kun Frary Office: FA-115 Phone: Office, 455-0353 • Studio, 944-8108 E-mail: frary@hawaii.edu Website: http://alaike.lcc.hawaii.edu/frary Textbooks Frary, Peter Kun. Solos for Classical Guitar. Vol. 1. Honolulu: FRM Publications, 1997. Leclerc, Francois, ed. Music for Three and/or Four Guitars. Vol. 5. Quebec: Doberman, 1990. Segovia, Andrés. Diatonic Major and Minor Scales. Washington D.C.: Columbia Music Co. Tennant, Scott. Pumping Nylon. Van Nuys: Alfred, 1995. General information This course is both a lecture and laboratory course. Lecture materials are reinforced with hands-on-experience in class Thus, attendance and participation is essential in this course. If you're absent, you'll miss unique information, coaching and rehearsal time. Missing class has a negative impact on your grade (see "Attendance policy"). The semester is divided into five projects: five solos, five ensembles and related technical exercises. A typical session includes 10 to 15 minutes of warm-ups, 10 to 30 minutes of lecture-demos, and 30 to 45 minutes of rehearsal time. During the rehearsals, the instructor coaches individuals and groups. This drill, repetition and refinement format will repeat each session until the class concert. After the concert, new work is assigned and the cycle repeats. The class practice ritual should serve as a model for your home practice routine. You'll need to practice at least one hour daily. Materials An classical (nylon string) or steel string acoustic guitar is required for this course. The classical guitar is recommend due to its ease of fingering and versatility. A guitar case, music stand, electronic tuner and metronome are also recommended. If you would like to know more about the classical guitar, click here. Course objectives For the student to develop advanced musical and technical skills on the classic guitar. To prepare students for entry into Mus 232 as music majors specializing in guitar. To give students knowledge of and the ability to play intermediate and advanced level solo and ensemble literature for the classic guitar. To give students the ability to play scale, slur and arpeggio exercises for the guitar. To give students poise and confidence as performers. To give students the ability to read music in all positions. To give students a working knowledge of tempo markings, dynamics and expressive terms. Student objectives Participate in assigned ensembles. Attend class regularly and participate in class activities and rehearsals. Practice at least one (1) hour daily. Complete assignments by due dates. Learn ensemble parts prior to rehearsals Perform assigned pieces in class recitals. Performances Five (5) solo performances (100 points each) Five (5) ensemble performances (100 points each) Each performance is graded on a 0&endash;100 point scale. Grading will take into account class participation, progress, accuracy of pitch and rhythm, quality of tone and interpretation. Details will be discussed in class. See class schedule for due dates. Scale test You will perform a set of assigned scales from Segovia's Diatonic Major and Minor Scales near the end of the semester. Performance is graded on a 0&endash;100 point scale. Grading will take into account accuracy of pitch and rhythm and quality of tone. Details will be discussed in class. See class schedule for due date. Grading Your tests, performances and other grades are averaged together to form a preliminary score: 90-100 = A; 80-89 = B; 70-79 = C; 60-69 = D; 0-59 = F. For the course grade, your preliminary score is adjusted according to your attendance and participation (see "Attendance policy"). The N grade is not given in this class. If you are absent or refuse to play, you will be assigned a failing grade of "0." Late assignments are accepted only if a special arrangement is made with the professor prior to the due date. Attendance policy This is a laboratory course and thus regular attendance and participation is mandatory. If you don't come to class, you can't participate. Your preliminary score will be adjusted according to your attendance and participation records: 1-4 absences: no change 5-7 absences: score lowered by 1 grade (A becomes B) 8-10 absences: score lowered by 2 grades (A becomes C) 11-13 absences: score lowered by 3 grades (A becomes D) 14 or more absences: failure If you come to class without a guitar or refuse to play you're counted as absent. Tardy policy For grading purposes, four (4) tardies are considered equivalent to one absence (see "Attendance policy" above).	Attendance policy Class schedule Course description Course objectives El Maestro General information Grading Materials Performances Sample Paper Scale test Student objectives Suggested Resources Tardy policy Textbooks Course Syllabi Index Home
Class Schedule Fall 2000 • Tuesday & Thursday Schedule August 22 Intro • Tennant, p. 6-8 (basic technique) & p. 78-80 (Giuliani, Group 1) • Segovia, C major scale • Frary, pick a solo from p. 1-8 (Renaissance) • Leclerc, pick an ensemble from p. 3, 7 • Handout fingerboard chart • BPCG1 for 9th position studies 24 Drills • Tennant, p. 10-12 (finger placement) • BPCG1 • Segovia, A minor scale 29 Drills • Tennant, p. 13-14 & p. 50-51 (slurs) • BPCG1 31 Drills • Solo coaching & ensemble rehearsal • BPCG1 September 5 Drills • Solo coaching & ensemble rehearsal 7 Concert, 1 solo from Frary, p. 1-8; Leclerc, 1 ensemble from p. 3, 7 12 Drills & review • Tennant, p. 15 (finger independence) • Segovia, G major scale • Frary, pick a solo from p. 9-16 (Baroque) • Leclerc, pick an ensemble from p. 4, 6 14 Drills & review • Segovia, E minor scale 19 Drills & review • Tennant, p. 48-49 (left hand walking) • Solo coaching & ensemble rehearsal 21 Drills & review • Tennant, p. 21 • Solo coaching & ensemble rehearsal 26 Solo coaching & ensemble rehearsal 28 Concert, 1 solo from Frary, p. 9-16; 1 ensemble from Leclerc, p. 4, 6 October 3 Drills & review • Tennant, p. 81 (Giuliani, Group 2) & p. 18-19 (#4 finger extensions) • Segovia, D major scale • Frary, pick a solo from p. 17-25 (Classical) • Leclerc, pick an ensemble from p. 11, 12 5 Drills & review • Segovia, B minor scale 10 Drills & review • Tennant, p. 22 (#6, The Spider) 12 Drills & review • Solo coaching & ensemble rehearsal 17 Drills & review • Solo coaching & ensemble rehearsal 19 Concert:1 solo from Frary, p. 17-25; 1 ensemble from Leclerc, p. 11, 12 24 Drill & review • Frary, pick a solo from p. 27-34 (Romantic) • Leclerc, pick an ensemble from p. 5, 9 • Tennant, p. 22-23 (Barré) • Segovia, A major scale 26 Drills & review • Tennant, p. 30-34 (nail finishing) • Segovia, F-sharp minor scale 31 Drills & review • Tennant, p. 35-36f (free & rest strokes,) • Solo coaching & ensemble rehearsal November 2 Drills, Solo coaching & ensemble rehearsal 7 Election Holiday 9 Concert: Frary, 1 solo from p. 27-34; Leclerc, 1 ensemble from p. 5, 9 • Tennant, p. 37-39 (R-hand independence) 14 Drills & review • Frary, pick a solo from p. 35-45 (Contemporary or Folk) Leclerc, 1 ensemble from p. 8, 10 • Tennant, p. 38-39 (Tarrega's Arpeggios) • Segovia, E major scale 16 Drills & review • Tennant, p. 40-41 (thumb strokes) 21 Drills & review 23-24 Thanksgiving Holiday 25 LCC Guitars Concert, 8:00 PM, LCC Theater, free 28 Scale Exam (all scales studied during the semester) 30 Drills & Review • Solo coaching & ensemble rehearsal December 5 Drills & review • Solo coaching & ensemble rehearsal 7 Final Concert: Frary, 1 solo from p. 35-45; Leclerc, 1 ensemble from p. 8, 10	Attendance policy Course description Course objectives El Maestro General information Grading Materials Performances Sample Paper Scale test Student objectives Suggested Resources Tardy policy Textbook Course Syllabi Index Home
Suggested Resources Books Evans, Tom and Mary Anne. Guitars: Music, History, Construction and Players from the Renaissance to Rock. New York: Facts on File, 1977. Frary, Peter Kun. Beginning to Play Classical Guitar. Book 2. 2nd ed. Honolulu: FRM, 2000. Grunfeld, Frederic V. The Arts and Times of the Guitar. London: MacMillan, 1969. Isbin, Sharon. Acoustic Guitar Answer Book. Pacific: Mel Bay. McKay, Marion and Neil. Fundamentals of Western Music. Belmont: Wadsworth, 1986. New Harvard Dictionary of Music. D. M. Randel, ed. Cambridge: Belknap Press of Harvard U. Press, 1986. Wade, Graham. Traditions of the Classical Guitar. London: John Calder, 1980. Études Brouwer, Leo. Etudes Simples (4 sets). Paris: Editions Max Eschig, 1972-. Carcassi, Matteo. 25 Studies for Guitar. T. Zoltán, ed. Budapest: Editio Musica Budapest, 1982. Hand, Frederic. Five Studies for Solo Guitar. New York: Schirmer, 1979. Lawry, Walt. Mel Bay's Rhythm Studies for Classical Guitar. Pacific: Mel Bay, 1981. Legnani, Luigi. 36 Capricci op. 20. M. Gangi & C. Carfagna, eds. Ancona: Bèrben, 1980. Mertz, Johann Kasper. Didactic & Easy Pieces (Guitar Works, v. 5). S. Wynberg, ed. Heidelberg: Chanterelle. Ponce, Manuel M. Twenty-Four Préludes for Guitar. London: Tecla, 1981. Sor, Fernando. 24 Progressive Lessons Op. 31 for Guitar. M. Dell'Ara, ed. Milano: Ricordi, 1976. Sor, Fernando. Studies for the Guitar by Fernando Sor. A. Segovia, ed. New York: Edward Marks Music, 1945. Villa-Lobos. Douze Études. Paris: Éditions Max Eschig, 1953. Guitars & sheet music Frary Classical Guitar. 1019 University Avenue #7, Honolulu HI 96826 (Pucks Alley, 2nd floor above Greek Corner & Ba Le). 944&endash;8108. Guitar websites Guitar Links Recordings Carlos Bonell Plays Britten, Walton, Falla, Ginastera. EMI CDC 7 49512 2. David Russell. GHA CD 126.002. Eduardo Fernández: Legnani • Giuliani • Sor • Diabelli • Paganini. London 414 160-2. Julian Bream, A Celebration of Andrés Segovia. RCA ARC1-5306. Latin Guitar: Classical Favorites Performed by Marcelo Kayath. MCA MCAD-25963. Los Angles Guitar Quartet: For Thy Pleasure. Delos DE 3205. Manuel Barrueco: Sonatas by Scarlatti, Cimarosa, Paganini, Giuliani. Turnabout TV 34770. Parkening Plays Bach. Angel S-36041. Ricardo Cobo: Tales for Guitar. ESS.A.Y. CD1034. Segovia: Music for the Guitar. MCA-2526. Sheet music collections Library of Guitar Classics, The. New York: Amsco. Classical Guitar Collection, The. Vols. 1-3. New York: Amsco. Classical Guitar Position Studies. Pacific: Mel Bay. Complete Anthology of Elementary Guitar Music. Pacific: Mel Bay. Deluxe Album of Classic Guitar Music. Pacific: Mel Bay Frary, Peter Kun. Solos for Classical Guitar. Vol. 1. Honolulu: FRM Publications, 1997. Noad, F., ed. The Baroque Guitar. New York: Amsco. Noad, F., ed. The Classical Guitar. New York: Amsco. Noad, F., ed. The Renaissance Guitar. New York: Amsco. Noad, F., ed. The Romantic Guitar. New York: Amsco. Treasures of the Baroque. Vols. 1-3. David Grimes, ed. Pacific: Mel Bay. Villa-Lobos. Collected Works for Solo Guitar. New York: Amsco, 1990. Vinson, H., ed. World's Favorite Solos for Classical Guitar. New York: Ashley, 1966. Technique books Artzt, Alice. The Art of Practicing. London: Musical News Services, Ltd., 1978. Bobri, Vladimir. The Segovia Technique. New York: Macmillan, 1972; reprint ed., New York: Collier, 1980. Carlevaro, Abel. Serie Didactica para Guitarra. 4 vols. Buenos Aires: Barry, 1966. Duncan, Charles. The Art of Classical Guitar Playing. Princeton: Sunny-Birchard Music, 1980. Pujol, Emilo. Escuela Razonada de la Guitarra. 4 vols. Buenos Aires: Ricordi, 1954. Giuliani, Mauro. 120 Studies for Right Hand Development. P. Brelinsky, ed. Hialeah: Columbia Pictures Pub., 1983. Provost, Richard. The Art & Technique of Practice. San Francisco: GSP, 1992. Segovia, A. Diatonic Major and Minor Scales. Washington D.C.: Columbia Music, 1953. Shearer, Aaron. Classical Guitar Technique: Supplement 1, Slur, Ornament & Reach-Development. Rockville: Belwin Mills, 1969. Shearer, Aaron. Classical Guitar Technique: Supplement 3, Scale Pattern Studies. Rockville: Belwin Mills, 1969. Taylor, John. Tone Production on the Classical Guitar. London: Musical News Service, Ltd., 1978. Tennant, Scott. Pumping Nylon. Van Nuys: Alfred, 1995. To learn more about sources of technique, click here	Attendance policy Class schedule Course description Course objectives El Maestro General information Grading Materials Performances Sample Paper Scale test Student objectives Suggested Resources Tardy policy Textbooks Course Syllabi Index Home

Home Page • Course Descriptions • Email

©Copyright 1998-2001 by Peter Kun Frary