DOCUMENT RESUME

ED 074 008SO 005 614

TITLE Teaching Guitar. A Curriculum Guide for a High SchoolElective in Music Education.

INsTITUTIoN New York State Education Dept., Albany, Bureau ofSecondary Curriculum Development.

PUB DATE [71]NOTE 23p.

ECRS PRICE MF-$0.65 HC-$3.29DESCRIPTORS Curriculum Guides; Folk Culture; Independent Study;

*Musical Instruments; *Music Appreciation; *MusicEducation; Resource Guides; Secondary Grades;Teaching Guides; Teaching Models

IDENTIFIERS *Guitar

ABSTRACT

The material in this curriculum guide for a highschool elective course may be used in a variety of curriculumdesigns--from a mini-elective to a full year course, Although it isobvious that none of the students will become expert guitarists inthe time alloted, hopefully, through a program based on guidedself-instruction and doing, they will: (1) learn to play guitar withenjoyment and-at least minimum competence; (2) find a satisfying andacceptable means of personal expression; (3) develop an interest inmusic. and/or musical performance; (4) widen both their musical andeducational horizons; (5) discover possible aptitudes for thecreative and/or performing arts; (6) increase their ability to learn;and CO undergo positive attitudinal and behavioral changes; Includedin the guide are sections which: (1) help the student to select theguitar. most suited to his tastes; (2) explain the use of capos andpicks, and; (3) show a suggested model for a course outline whichincludes tuning the guitar through the use of grand barre chords.Many photographs are used to demonstrate the use of correct handpositions and chord formations. An annotated list of instrumentalmaterials, films, periodicals, and inexpensive folksong collectionsconclude this guide. A related document is "A Teacher's Guide toFolksinging" (SO 005 429). (OPH)

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a curriculum guide for a high school elective in music education

The University the State of New YorkTHE STATE EDUCATION DEPARTMENT

Bureau of Secondary Curriculum DevelopmentAlbany, New York 12224

THE UNIVERSITY OF THE STATE OF NEW YORKRegents of the University (With years when terms expire)

1981 Jos Ertt W. MCGOVERN. A.B., LLB., L.H.D., LLD., D.CL.,Chancellor - - - 3 - . - - - New York

1985 EVERETT j, PENNY, B.C.S.,Nee Chancellor - =

1978 ALEXANDER J. ALLAN. JR LL.D., Litt.D. -

1973 CHARLES W. MILLARD, JR., A.B., LLD., L.H.D.

198; CARL H. PFORZHEIMER, JR., A.B., M.B.A., D.C.S.. H.H,D.

1975 EDWARD M. M. WARBURG, B.S., L.H.D.

1977 josEPH T. ICING, LL.B. .

1974 JOSEPH C. INDELICATO. M.D. - - -

1976 Mils. HELEN B. PowER. A.B.. Litt.D.. L.H.D., LLD. -

1979 FRANCIS W. MCGINLEY, B.S., LL.B., LL.D. - -

1980 MAX J. RUBIN, LL,B., L.H.D. - - - -

986 KENNETH B. CLARK. A.B., M.S., Ph.D., Litt.D.

1982 STEPHEN K. BAILEY, A.B., B.A,, M,A., Ph.D, LL.D. - -

1983 HAROLD E. NEwcomn, B.A.

1981 THEODORE M. BLACK, A.B., Litt.D. -

President of the University and Commissioner of EducationEwA in B. NTguisT

Executive Deputy Commissioner of EducationGORDON M. AMBACH

White Plains

Troy

Buffalo

PurchasiJ

New York

Queens

- Brooklyn

Rochester

Glens Falls

- New York

HastingsHudson

tiegsdson

- Syracuae

Owego

Sands Point

Deputy Commissioner for Elementary, Secondary, and ContinuingTurimAs D. SuELnoN

Aseoeinte Commissioner for Instructional ServicesPHILIP B. LANGWORTHY

Education

Assistant Commissioner for Instructional SP. (General Education)BERNARD F. HAMM

Director, Division of School SupervisionGORDON E. VAN HOOFT

Chief, Bureau of Secondary Curriculum Development

Director, Division of the Humanities and the ArtsViviENNE N. ANDERSON

Chief, Bureau of Music EducationA. THEODORE TELLSTROM

FOREWORD

Teaching Guitar is one of a series of curriculumguides intended to stimulate the development of pro-grams in music education which are relevant to the needsand interests of secondary school students who are notmajoring in music. Amok other publications inthe series are A Teacher's Guide to Folksinging, Musicin Modern American Society (Contemporary Music),and Music and the Electronic Medium.

Designed for local adaptation, the material on thefollowing pages is primarily descriptive and thereforelends itself to a variety of curriculum patterns. Forexample, learning to play guitar might be offered as:

A mini-elective in which the students meet everyday for a period of 8-10 weeks;A full semester study, with two or three sessionsper week;One of several segments in a yearlong exposureto differing types of music; or in expanded form,A full year course.

It goes without saying that none of the students arelikely to become expert guitarists in the time allotted;nor should they be expected to acquire any depth ofunderstanding in music theory. Hopefully, however,through a program based on guided self-instruction anddoing, they will:

Learn to play guitar with enjoyment and at leastminimum competence;Find a satisfying and acceptable means f personalexpression;

Develop an interest in music and/or musical per-formance;

Widen both their musical and their educationalhorizons;

Discover possible aptitudes for the cperforming arts;Increase their ability to learn; andUndergo positive attitudinal andchanges.

Successful participation in the program should be cred-ited according to the guidelines established in Music inthe High School, the State Education Department's syl-labus for music in grades 9-12.

ative and/or

behavioral

In line with current educational thinking, the sugges-tions in this new series of publications encourage theteacher to be his students' guide and companion throUghthe process of learning, rather than their instructor perse. The teacher who lacks experience in playing theguitar may therefore have an advantage, for he will beable to facilitate the process by:

Learning with his students, andBringing to the shared learning experience the ben-efit.of his comprehensive knowledge of music the-ory and practice.

As a result, his students may become more interestedin learning, and either consciously or unconsciously ap-ply to other fields those principles and techniques thathave brought success to their efforts in guitar.

As part of an emerging program in attitude develop-ment through music, Teaching Guitar was initiated andsupervised by A. Theodore Tellstrom, Chief of the Bu-reau of Music Education. The manuscript was writtenby S. Lee Pierce folksinger, guitarist, music teacher,guidance counselor, and currently associate in educa-tion guidance at the State Education Department. Itwas prepared for publication in the Bureau of Second-ary Curriculum Development; reviewed by John A.Quatraro and Charles J. Trupia of the Bureau of MusicEducation; and then distributed in trial form to selectedschool systems throughout the State. The followingsummer, the suggestions made by teachers who used thematerial were incorporated into the manuscript by Rich-ard A. Stephan, assistant professor of music educationat the State University College at Potsdam. Eugene J.Cunningham, associate in music education, and RitaA. Sator, associate in secondary curriculum, were re-sponsible for the project in all stages of development.

All photographs, except the one on p. 13, illustrateMr. Pierce demonstrating his concepts of guitar tech-nique.

GORDON E. VAN HOOFT

Director, Division ofSchool Supervision

CONTENTS

PAGEPAGEFOREWORD

SELECTING A METHOD OF INSTRUCTION

HELPING THE STUDENT TO SELECT HISGUITAR , . .... . ..

The Classic Guitar . ,

The Folk Guitar , , . . .

The Steel String or Plectrum Guitar

The Electric Gu l f ar, . , . , , . , ......,.By Way :I Summary. .. ...

. f f f . . ! ,

Additional Equipment . . .. . .. . fi.,i...

Capo . .. . ,...., . , :. . .. .

Picks .. 141,.E 1.,,Ii. ... .I

GUIDELINES FOR INDIVIDUALIZED IN-STRUCTION IN FOLK GUITAR . . .

The Question of Time

Recommended Class Si2e. .......Some Thoughts About Learning Procedures.

A Word About Practicing.. .. . .

iii

1

2

2

3

3

3

3

4

4

5

6

6

6

6

6

A MODEL FOR A COURSE OUTLINE

to I ;;i;;.i .. .. .1. . . . ,

Stage 2 .. .. . ;.;.!ii;fi.lE.;IttS .1

Stage 3 tI ti 1;tiii!!;;;41,45I = egi. I

Stage 4 , ii

Stage 5 .. imifeOE..E.,.!;; Eie;iiEi

Stage 6

Stage 7 . . . .

Suggested Supplementary !Refraction, .... ,

A SELECTIVE, ANNOTATED LISTING OF

, IVIATERIALS . .. . . ...... , , , ... , , . ... .. .

Instruction Manuals . , ... .. . . . .... ,Films .. IIII.IIi. .Magazines , .

Inexpensive Folksong Collections.. . 18

7

7

9

10

11

11

12

12

13

14

14

17

18

Cover portrait: Tressa and Guitar by James V. Gilliland

SELECTING A METHOD OF INSTRUCTION

The material in this publication is &sigh for aprogram of self-teaching experiences in folk guitar, amethod of instruction which focuses primarily on chordsand therefore requires little or no immediate knowledgeof music theory. But the emphasis on folk guitar isnot intended to discourage the use of other styles orapproaches. On the contrary, the teacher is expectedto review a wide variety of instructional methods andmaterials and then select the ones which seem most ap-propriate for his particular situation, If, in the process,he develops a collection of resources and teaches himselfto play the guitar through one or another of the manyself teaching manuals currently on the market, so muchthe better for then he should be able to make moreappropriate judgments; to use the songs and techniquesfrom a variety of sources in adapting a given mode ofinstruction to his students' neeCs and interests; to sub-stitute another style or approach if his initial choiceproves less than effective; and to anticipate problemareas, and either preclude or prepare to meet them.

In any event, both the method and materials shouldbe geared to self-instruction, for three very good rea-sons:

( I ) The teacher may not be an accomplished gui-tarist,

Mos, of the students will be learning to play fortheir own enjoyment. rather than as prospectivemusicians, and may therefore need ready accessto.the fundamentals for purposes of review,Once they have completed the basic course ofinstruction, many of the students may wish tocontinue on their own; and the commercial self-teaching manuals for beginners are often fol-lowed by more advanced materials.

(2)

An annotated listing of instructional manuals has beenincluded on the final pages of this publication. In se-lecting, from them or from other available materials

the teacher might find some of the following consid-erations useful:

Does tlw material contain most of the lessons OW=lined in the locally developed program of instruc-tion?

For example, very few standard methods coverall of the areas and techniques included in thecourse outlined in this publication. Teacherswho use it, therefore, should be prepared to sup-plement the materials they choose with othersfrom the collection of resources they assemblein selecting a method of instruction.

How is the theory presented?

For example, it is presented in a traditional orin an intuitive way?

How are the chords presented?

Those methods which begin with less than fullchords require, some explanation of the transi-tion from partial to full chords.

Are the staff diagrams in the publication largeenough to enable the student to determine fingeringpatterns quickly and easily?Is the music of a type that will be interesting tothe students?

How quickly does the material move from lessonto lesson?

Since the program of instruction in guitar pro-motes individualized learning, the teacher shouldbe able to select those methods and materialswhich seem to be most appropriate for his stu-dents.

HELPING THE STUDENT TO SELECT HIS GUITAR

Since the school may not provide the guitars onwhich the students learn to play, the teacher should fa-miliarize himself with the various types available in or-der to help the student or his parents in selecting anappropriate instrument. There are any number of gui-tars on the market and they range in price, quality, type,and usefulness for a given situation; but if one heedsthe advice of the experts, he can probably buy a fairlygood beginner's instrument for less than $50. For ex-ample, Jerry Silverman writes:

For accompanying yourself singing folk songs,steer clear of electric guitars, guitars with f holesin the sounding box, instead of a round hole, andinstead, select a " Spanish style guitar. Espe-cially if you have never played a guitar. I'd suggestyou start with nylon strings, even if later on yondecide you prefer the twang of steel strings. Mucheasier on the fingertips.

If you have time to poke around second handstores, and if you have a guitar-playing friend toac, ipany you, you might get a bnter buy. Bewary for the following points: lay ;1. straight edgesuch as a ruler) along the fingerboard to deter-

mine if the neck is warped. Cracks can be mendedbut straightening a warped neck is a major opera-tion, useless to attempt except in the case of an un-usually fine instrument worth saving. See if allthe f:ets are smooth and of even height. If thepegs don't turn easily, it will cost you a few dollarsto replace them.

Listen to the tone of several dozen instruments,and you'll be able to tell which please you best.Some are weak in the bass notes, others weak in thehigh notes. Some are not loud at an, but stillhave a superlative quiet balance of tone.'Folksinger Joe Jaffe also favors the purchase of a

secondhand instrument, and offers the following adviceto the beginner:

First of all, we want to get the round-hole, flat-top guitar since this type has the most resonantsound. The f-hole variety only sounds good whenelectrically amplified and is usually found in swing-band playing. Now if you're lucky, you'll find ahandmade " classical " model. These are distin-guished by a very wide and thin keyboard [finger-board], a thin wood face and a characteristicbridge with horizontal string holes. These are thebest of guitars and their playing gives real pleasure.

1" How and Where To Get a Guitar," The FolksingerlsGuitar Guide. 1st ed., an Oak publication.

Their appearance is usually duller due to the softvarnish used.

Look at the face of your guitar. It should havethe close, straight grain of good spruce and is usu-ally light-colored. The back and sides are usuallyof darker short-grained mahogany, or in the bettermodels, of red-brown rich flowing-grain rosewood.

The [fingerboard] on a good instrument is madeof smooth, black ebony, though rosewood is usedtoc: If there are two cutout channels in the woodof the gear box, this alone will usually denote agood guitar.

The most important thing for beginners is thestring action. You can always spot a cheap guitarsince you can put your hand in the space betweenthe [fingerboard] and the strings. The stringsshouldn't be more than inch from the [finger-board] or terrible blisters and frustration will en-sue. If the action is bad due to warping, it some-times pays to straighten out an obviously superiorinstrument. Action can be improved by filingdown the notches on the nut and bridge and bychanging the strings to the silk and steel variety.

ar

2

The classic guitar; the folk guitar, the steel string orplectrum guitar, and the electric guitar are four of themost common types of the instrument and the novicemay have difficulty in choosing between them. In ad-dition to the suggestions given above, therefore, the fol-lowing information might prove useful in helping tomake a wise decision.

The Classic Guitar

The classic guitar has nylon strings, a stationarybridge and tailpiece located directly in line with thesound hole, a flat top, and either a flat or a slightlyarched back. A good classic guitar can usually beidentified by the following characteristics:

The back and sides are made either of rose-wood, fruitwood, mahogany, or maple.The top is made of pine or, preferably, spruce.Harder woods such as maple or mahogany causethe tone to become muddy and the bass tones,weak.The tuning pegs are gear-driven on an but theflamenco guitar, which has friction-type tuningpegs.

. So You Wanna Buy a Guitar," Sing Out! Vol. 1, No.nary 1951).

The head, or tuning peg area, often has longoval cutouts parallel to the line of the finger-board and head.The sound of the treble strings is clear and has

good ring. The slower the " decay or rateat which the tone of a vibrating string dies away,the better the guitar.The bass strings do not buzz. If they are notheld down firmly enough, the bass strings of eventhe most expensive guitar may buzz; and the be-ginner is therefore advised to apply a cap° (seep. 4) at maximum tension when he tests the in-strument.The sound of strings is so balanced that thereis no obvious change in timbre as the playermoves from one string to the next,

The Folk Guitar

Derived from a style of playing, the term folk gui-tar is commonly used to identify an instrumentwhich closely resembles the classic guitar, but whichdiffers from it in the following ways:

The folk guitar may have either nylon or steelstrings.The head is usually solid.The neck is often narrower than that of a classicguitar, is generally reinforced with steel, andusually includes an adjusting screw to correctfor the warping which sometimes occurs in folkguitars with steel strings.The bridge and tailpiece have been built to han-dle the additional tension produced by steelstrings. (On some instruments, the bridge andtailpiece form a single unit as they do on theclassic guitar; but on other's, the bridge is mov-able and the tailpiece and pin are attached tothe end of the guitar.)There is a plastic guard to the right of the soundhole.

It should be noted that, with some adjustments, ny-lon strings can be used on a guitar designed for steelstrings; but steel strings should NEVER be used ona guitar designed for nylon strings because the extratension could pull the bridge off, pull the top up, orcause the neck to warp.

The Steel String or Plectrum Guitar

The steel string or plectrum guitar is often used bycountry and western artists and for instrumental workin orchestras. It has an arched back and top;

__Classic Guitar Folk Guitar

Steel String orPlectrum Guitar Electric Guitar

f- shaped resonating holes, rather than a single roundone; and, usually, a movable bridge and fixed tail-piece. But the steel string or plectrum guitar haspoor resonance unless electrically amplified, andtherefore is not recommended fbr beginners.

The Electric Guitar

Although many guitars are equipped with microphonepickups (including in particular the one describedabove), the term " electric guitar" generally refersto an instrument with a solid body which relies onelectrical amplification for its sound. Students areoften intrigued with the electric guitar, but its highcost and the extensive equipment it requires makethe instrument a poor choice for beginners.

By Way of Summary

One of the most important considerations in selectinga guitar is the nature of its. strings. Wile,' high qualityinstruments are used, there is very little difference in the

4

amount of pressure required for playing on either nylonor steel; but the steel strings on inexpensive guitars areoften painful for fingers not yet accustomed to playing,and most beginners are therefore encouraged to use in-struments strung with nylon. Steel string guitars canusually be restrung with nylon if the student has diffi-culty, and strung again with steel at a later date; butit should be noted that:

The greater diameter of nylon strings requiresthat the nut and bridge be raised, andThe tone of a restrung guitar is invariably weak-ened.

A second consideration has to do with the width ofthe fingerboard. The nylon string guitar often has awider fingerboard than the steel string guitar. Becausethe strings are more widely separated, the student is lessliable to touch those on either side of the ones he wantsto play; but longer reaches are required for playing cer-tain chords. Thus the size of the student's hands andthe length of his ling I'S may also be determining factorsin the selection of a suitable instrumeil:.

It becomes obvious that the st-udent'c first guitarshould be the one that will enable him to learn as quicklyand easily as possible. The techniques in any initial pro-gram of instruction are generally adaptable, so the stu-dent who yearns to play an electric, steel string, or clas-sic guitar can ultimately turn his training " instrumentin on more expensive equipment and continue his les-sons in the new mode.

Additional Equipment

Capp

The capo (kay'po) is a device which is clampedover the fingerboard of a guitar at any desired fretfor the purpose of raising the pitch of all the stringsan equal amount at the same time. In short, it isa simple means of transposing from one key to an-other on an instrument which cannot be played eas-ily in all keys.

,

Since it extends the variety of possibilities for thestrumming patterns which are fundamental to hisart, the capo is an important asset to the begin-ning folk guitarist. In addition, it enables theplayer to adjust the key of his guitar to his ownvocal range or to that of the performer he intendsto accompany without increasing the difficultyof fingering even if the key is an awkward one.And the capo is indispensable for ensemble playing

because it helps the guitarist to adjust his instru=merit to the others in the group. For example, thekey of F is a useful key on the autoharp anotherpopular folk instrument but it is a very limitedkey on the guitar.As the following chart indicates, the capo raisesthe pitch of the guitar :If step for each fret so theguitarist can easily transpose his instrument's use-ful key of E to the key of F simply by placing thecapo at the first fret.

CAPO CHORDSETTING FINGERING

Major MinorNone A C

at the 1st Ire- Eb F A" bb

at the 2d fret B D E F A b

at the 3d fret C Eb F G c g

at the 4111 fret D" E F: At" B ca gtt

at the 5th fret D F A C d a

*The underlined c rds are rarely used by folk guitarists.

The capo at re

The cap° at the 5th fret

There are several kinds of capos. These range incost and material from the less expensive elasticones with a steel pin encased in plastic to the moreexpensive models made of wood, steel, or ivory.The elastic capo is generally preferred because itis small, light, inexpensive, and simple to use, andit will not scratch the neck.Not all guitarists agree with the desirability of us-ing a capo. Many feel that it reduces the student'sincentive to learn more advanced barre chordsthat is, chords which utilize-no open strings. For

example, a barn: chord of F on the first fret couldbe " moved " to the second fret and become an F:chord, without a change in finger form. Until re-cently , these " movable chords have been Thebasis for the more sophisticated pop and jazz styles;but many of the folk and rock songs of today aregoing beyond the traditional I, 1V, V chords withdistant modulations, thereby reducing the effec-tiveness of the capo. For these and other reasons,students who use the capo should be made awareof its limitations.

Picks

The primary purpose of picks is to enable the gui-tarist to produce plucking effects without hurtinghis fingers or splitting his fingernails. Because theyproduce poor effects on nylon strings, picks aremost often used on steel string guitars and aretherefore of little use to beginning students whousually learn to play on instruments strung withnylon.

There are various types available 3 some of steeland others of plastic and the player's choice islargely dependent upon the sound he wishes to pro-duce. For example, stee, picks on steel stringsproduce a brittle bluegrass effect, whereas thesound of plastic on steel is somewhat mellow. Jazz,rock, and many country and western players usea flat plastic or nylon pick which comes in severalsizes and is held between the thumb and the indexfinger.

If and when the student expresses a desire to usepicks, he should be advised to select a plasticthumbpick and three steel or plastic fingerpieks, andfit them to his own thumb and fingers. Steel pickscan be adjusted by squeezing the sides together, butplastic picks should be dipped in boiling waterand then allowed to cool slightly before beingplaced on the fingers for shaping.

GUIDELINES FOR INDIVIDUALIZED INSTRUCTION IN FOLK GUITAR

The Question of Time

A program like the one outlined on the followingpages can be completed in 8-10 weeks, if the classmeets for a minimum of 40 minutes every day. If not,the total time allotment should be adjusted accordingly.

Recommended Class Size

As with most types of group instrumental instruction,a class of eight students is usually small enough to en-able the teacher to work with each individual during,some portion of every session, and yet large enough topromote efficient use of school personnel and resources.The time required for tuning the guitars tends to limitthe teacher's effectiveness with more than eight studentsin a class.

Some Thoughts About Learning Procedures

In order to maintain a high level of student interest,the teacher is advised not to require that his beginningguitarists master each technique before moving on tothe next. Through the process of continual review, thestudents should gain proficiency in previously taughtmaterial as they become involved in new activities andaccomplishments. Hopefully, they will adapt the proc-ess to this and other areas of study when they work ontheir own.

It is also recommended that the teacher avoid directinstruction in music theory until the students have al-ready begun to understand some aspects of it intuitivelyand either express or exhibit a need for something more,The authors of most self-teaching manuals follow thisprocedure. Theory is implicit in all their methods; butthe technical concepts and terminology are introducedafter the student has absorbed them indirectly and wantsa vocabulary with which to identify and discuss thethings he has learned through doing.

A third suggestion relates to one of the beginner'sgreatest problems: the inability to move quickly andeasily from one chord to another. Having the studentsplay to selections recorded at different tempos can be aneffective trl.::,ans of overcoming this difficulty because thetapes will help them to establish and then maintain aspecific tempo in each case. Tapes are also useful as

bases for accompaniment and as aids for measuringprogress, and can be made by students as well as teach-ers.

A Word About Practicing

Because one or two 15-minute practice sessions aday are about all a person's .fingers can take for thefirst 2 weeks, it would be well for beginning students todo most of their playing during the class period. Thosewho are very interested can continue to practice the fin-gering for chord changes without actually playing. Sincethe program is based on sell instruction, the studentswill be expected to practice on their own after a fewweeks. However, as in any other area of learning, su-pervised practice may preclude the kinds of mistakesthat become habitual.

.

A MODEL FOR A COURSE OUTLINE

A program of instruction in folk guitar lends itselfto a variety of organizational patterns. In the followingmodel, seven stages of learning have been described interms of time allotments, skill objectives, keys to becovered, class activities, songs in the keys to be covered,pitfalls, and pointers. The manner in which the mate-rial is presented has been tried and proved successful;but it may differ from that in the method(s) the teacherwould like to use with his particular students. Althoughone arrangement may be more effective than anotherin a given situation, the most important factor in theoverall instructional design is the extent to which thestudent's learning derives front actually playing hisguitar.

Stage 1 ( 10 sessions

Skill Objectives

Tuning the guitarReading chord diagramsProper left-hand positionProper placement 'of right -hand thumb and fin -

gers (T 1 2 3)

Keys

These will differ according to the method used.Some begin with full chords in A or E, but expe-rience indicates that these keys contain rather dif-ficult chords for beginners, While the student istill getting used to handling his guitar, simplifiedone-finger chords such as the following arc gener-ally more appropriate. From this beginning, thestudent can go on to fuller sounding keys.

Ong= timer

One-finger. chord G

The vertical lines represent the six strings of a gut-ar, with the bass on the left and the treble on the

right. The horizontal lines represent the frets. Thesymbols above the vertical lines indicate the stringswhich are not to be picked or strummed (x), openstrings (o), and the particular finger to be used(1 = the index finger, 2 = the second finger, etc.).The black dot indicates finger placement on thestring.

1

8

s Activities

Describe the nature of the course.Discuss and illustrate the various ype.s

guitars.Explain how the principles and techniqueslearned in a folk guitar course can be used inplaying other types of guitars (see material onpp. 2-4 and p. 13 ).Help each student to:

Explore his own instrumentUnderstand the nature and function of itsious partsDetermine how to hold it for playing

Doing all the tuning yourself at first, teachstudent to tune his guitar and then graduallycourage him to do it himself.

1

Tuning the guitar

As a warmup exercise to ensure good thumband finger placement, have the students play a5-note chromatic scale up and back on eachstring. Introduce the exercise by rote, and use

Proper left-hand position

Work with the students on thumb strummingand simple finger-picking patterns designed todevelop proper placement of the right handthumb and fingers = T 1 2 3.

finger numbers only = 0 1 2 3 4 3 2 1 0 . Donefaithfully each session, the exercise should help Proper placement of the right-hand thumbthe student to develop proper left-hand position, and fingers

Help the students to understand and follow thedirections given, in their instructional manualsor in locally developed materials especiallythe sections on how to read chord diagrams andthe various fingering systems.Teach the class a song and tape-record theirsinging as you (or a proficient guitarist) accom-pany them. If you do not play the guitar anda competent guitarist is not available, use thepiano. Then have the students accompany thetape (or any other recorded version of the song)on their own guitars.

Songs'

Key of C (I V7 chords only)

Alouette Skip to My LouDown in the Valley ClementineBuffalo Gals Tom Dooley

Key of D

Down in the ValleySkip to My LouCindyRed River ValleyBlowin' in the Wind

Sweet Betsy 'from PikePaper of PinsWaltzin' MatildaThe Sow Took the MeaslesKunt Ba Yoh

Key of A (Some teachers may prefer to introducethe Key of G)

On Top of Old SmokyWho's Going To Shoe

Your Pretty Little FootThe Wreck of the Old '97

Pitfalls and Pointers

f there is a dull thud when a particular stringis strummed,

the student may be touching more than onestring with his finger;he may not be holding the string down tightlyenough (another indication of this is a buzz-ing sound);he may not be placing his finger close enoughto the next higher fret; or

Dark as a DungeonWitnowehTom DooleyJohn Brown's Body

The songs identified for each of the keys have been in-cluded because they are readily available in most instructionmanuals; but these shod be supplemented and/or replaced bysongs which are currently popular with the students, wheneverthey are appropriate for the lesson,

his finger positions may not be quite right(e.g., his left thumb should be opposite hissecond finger and not sticking out around theneck of the guitar).

Too much practice at bqjnning can be verypainful; so until their fingers become accustomedto the pressure of the strings, limit the studentsto one or two 15-minute sessions of playingtime per day.Ask the students to let the fingernails on theright hand grow a little longer for 'picking, butkeep the nails on the left hand short.Because chord diagrams are often confusing tobeginners, the students may need help in read-ing them and in establishing the correct patternfor each chord.Beginning students tend to lose the temp_ o ofthe music when they change chords. Show themhow the fingering of one chord can be a guideto the rtlxt (e.g., look for common fingers be-tween chords and for finger forms " that arealso common, but move to different strings).Encourage slow, careful practice at first, chang-ing to a faster tempo only after correct fingermoves have been clearly worked out and under-stood.

Stage 2 (5 sessions)

Skill Objectives

Alternating bassFinger strummingA review of the skit

Keys G and e minor

Class Activities

objectives in Stage 1

Discuss duple and triple meter, and illustrate ac-companiment patterns for each, Then playsome music or a musical recording, and ask thestudents to determine which of the two meterswas represented,Discuss and illustrate note values, and then helpthe students to understand the differences innote values by:

having one student play one chord per eas-ure; and thenhaving another student play first two, thenthree, and finally four chords per measureagainst him.

10

Songs

Key ofOn Top of Old SmokyGilgarry MountainsPay Me My Money

DownCambric ShirtGoodnight IreneThe Housewife's

LamentToni Dooley

Key of e minor

- I Am a Poor Way-faring Stranger

The Erie CanalScarborough Fair

She'll Be Conlin'Round the Mountain

Hard Travellin'Roll on, ColumbiaCasey Jones500 MilesWhere Have All the

Flowers Gone

Peat Bog SoldiersHey Ho Nobody HomeGreensleeves

Pitfalls and PointersIn learning how to alternate the bass, a beginneroften hits the wrong string ch.- hits the samestring twice. See that the student's right thumbis held away from his fingers and moves from

its base.In learning the finger strum, a beginner some-times plucks the strings too vigorously. Only

the tips of the first, second, and third fingers

should be placed between the first, second, andthird strings; and then a very gentle pluckingwill produce the desired effect. Until he is ableto pluck the strings properly, suggest that thestudent rest his thumb on the bass string of the

chord as an anchor.continue to watch for and help the student toovercome, the pitfalls described in Stage 1.

Stage (5 sessions)

Skill Objectives

Finger pickingA review of the skill objectives in stages I and 2

Class Activities

Discuss the importance of correct hand positionfor picking, and drill on moving efficiently fromone chord to another.

Proper pine

Sensing when chord changes should be made is

an important part of learning to play the guitar.Using music which requires a few simple chordchanges, but for which no chord diagrams have

been provided, ask the students to identify thepoints where the changes should be made. Helpthem to determine the chords which should beused at these points and then have them accom-pany the music on their own instruments.

Songs

Key of EDown in the ValleySkip to My LouThe FoxSpringfield MountainWorried Man BluesWhen the Saints Go

Marching InThe Frozen LoggerGreen Grow the LilacsWabash Cannon BallThe Dreary Black

Hills

The Little Old SodShanty

Old BlueBilly Broke LocksThe Streets of LaredoThe Greenland Whale

FisheryOleanaThe John B. SailsTraditional BluesBile Them Cabbage

Down

Pitfalls and Pointers

Keep the student from anchoring the little fin-ger of his right hand on the top of the guitar asa means of gaining stability for picking.Make sure that the line of the student's.. righthand is nearly perpendicular to the strings.Continue the 5-note chromatic scale exercisedescribed in Stage 1 especially on the bassstringsto ensure proper left thumb placement.Continue to watch for and correct the pitfallsdescribed in stages 1 and 2.

Stage 4 (5 sessions)

Skill Objectives

Bass runsA review-of the skill objectives in stages 1-3

Keys C (with additional chords) and a minor

Class Activities

Help the students to understand and use the fin-gerboard to locate the proper notes when theyare working out bass runs. (Some work mightbe done with note reading at this point, if thestudents seem interested.)Show the students how to work out bass runs,a process which involves identifying the scalewise movement from the root bass note of onechord to the root bass note of the next. For ex-ample, the bass run from the 07 chord to theC chord involves moving from the third fret ofthe low E string (C) to open A on the A string,then to B, on the second fret, and finally to thethird fret (C) all of which are plucked withthe thumb.Because a string bass is often useful in hglpingguitar students to get the feel of the root notesof chords, invite a string bass player from anorchestra to accompany the students as theyplay some of the songs suggested in this section.

Songs

Key of CLolly Too MtnThis Land Is Your

LandNew River TrainThe Happy Wanderer

Marching to PretoriaSuliram (Indonesian)Della's. GonePuff, the Magic Dragon

Key of a minorDrill, Ye TarGreensleeves

ers, Drill

11

Johnny Has Gone fora Soldier

Black Is the Color ofMy True Love'sHair

Pitfalls and Pointers

Beginning students often have difficulty in co-ordinating the finger movements of the left handwith the thumb movements of the right handwhen they play bass runs.Continue to watch for and correct the pitfallsdescribed in stages 1-3.

Stage 5 (5 sessions)

Skill Objectives

Using the capo (note comments on p. 4)A review of the skill objectives in stages 1-4

KeysVarious keys resulting from the use of th

Class Activities

a

Explain and illUstrate transposition and the useof the capo (see description and chart on pp.4-5).Bring some transposing instruments to class andillustrate the difference between soundedpitch and written " pitch by having the stu-dents follow the chord diagrams for a piece ofmusic whiie someone plays the music on one ofthe transposing instruments. Then have themput a capo on the fingerboard of their guitarsand move it up the board until the sounds oftheir guitars coincide with the sounds of thetransposing instrument.

Songs

Have the students play the songs suggested forstages 1-4, using the eapo to transpose to otherkeys.

Pitfalls and Pointers

When the student first uses the capo, he maybecome confused about the key in which he isplaying. The problem might be precluded byhaving him:

12

devise a chart such as the one on p. 4 byplaying the same chord position with the capoon consecutive frets; and.thenuse the chart in brief drills or exercises, andrefer to it when necessary until he becomesaccustomed to using the capo.

Stage 6 (5 sessions

Skill Objectives

Tablature and/or note readingAdditional strums (see annotated listing on pp.14-17 for books devoted primarily to strums)A review of the skill objectives in stages 1-5

Keys A review of the keys in stages 1 =5

Class Activities

Help the students to read tablature and/ornotes. Guitar tablature is direct and to thepoint it can be learned in a minimum of time.Note reading is more involved; but it is alsomore universal and could lead the student toother styles of guitar playing. Whether it is

better for him to learn to read tablature, notes,or both depends upon the individual student'sinterests and abilities.Keeping in mind the patterns of duple and triplemeters, have the students work out new strumsin each meter.

Songs

A review of the songs in stages 1-5, using newstrums

Pitfalls and Pointers

Since the influence of the strum may cause theperformer to sing a song in the wrong meter,have the students determine the meter of thestrum before they begin to play the accompani-ment.

Stage 7 (5 sessions)

Skill Objectives

Barre chordsA review of the skill objectives in stages 1-6

Keys F and d minor, plus a review of the keys instages 1-6

Class Activities

Discuss and illustrate the three kinds of barrechords:

Those in which the player holds down two ofthe strings with one finger (partial barrechords);Those in which he places one finger acrossthe entire keyboard, like a capo (" grand "barre chords); andThose which involve a combination of partialbarre chords and grand barre chords.

Since beginners often have difficulty with grandbarre chords, show the students how to resolvethe problem temporarily by playing only on thetop four strings. However, they should prac-tice barre chords frequently enough to be able toplay them easily.

Grand barre chard

Songs

A review of the songs learned in the key of E,using the key of F with the capo at the first fret.

Pit alis curd Polwers

Note the second activity described above. Inaddition, the student might practice the F "chord on the fifth fret or higher (where thestrings are easier to depress) until all the tonesare clear, before moving back to the first fret.

Suggested Supplementary Instruction

Students who successfully complete the seven basicstages of guitar instruction outlined on the precedingpages should be ready to work out accompanimentsand to adapt their newly acquired skills to playing otherstyles of guitar. Supplementary activities might there-fore include having the students devise varied accom-paniments for songs already learned, and additional les-sons might fulfill the needs,of those students who prefer

13

to play guitars other than the folk instruments used inthe' basic course. For example:

The student who intends to continue with the folkguitar will need further knowledge of the finger-board in order to work out accompanimentsparticularly for introductions, endings, and breaks.The student who prefers to play either a classicguitar or a flamenco guitar will also need furtherknowledge of the fingerboard and must learn to usehis guitar as a solo rather than an accompanyinginstrument.The student who prefers to play an electric guitarwill find his knowledge of chord patterns invalu-able, but his finger-picking techniques will proveless useful than the flat-picking techniques he willhave to learn.4 There is some specialization inelectric guitar groups, so be must learn to use hisinstrument for solo performance as well as for ac-companiment. And if he wishes to play electricbass or lead guitar, he will need a thorough knowledge of the fingerboard.

Sec the paragraph on picks (p.

A SELECTIVE, ANNOTATED LISTING OF MATERIALS

The following resource list is intended to be a briefsurvey of some of the guitar instruction manuals cur-rently on the market. The entries have been organized

according to publisher. However, the statements ac-companying each entry are merely descriptive andshould not be construed as New York State EducationDepartment endorsements or recommendations. In

some instances, available materials have been listed but

not reviewed. Teachers are expected to investigate anumber of varied materials and then select those which

seem to be most appropriate for the particular students

with whom they will be working.

INSTRUCTION MANUALS

Alfred Music Company, Inc. 75 Channel Drive, PortWashington, New York 11050

Young Folks Guitar Course, Volumes 1 and 2Features a chord approach and emphasizes ac-

companying singing. Begins with the teachingof 3-string chords and then moves to full chords.

(Students must be made aware of the need for

transition from partial chords to complete

chords.) The course includes strums and bass

runs and introduces theory as needed.

Popular Guitar Course, Books 1, 2, and 3

Emphasizes popular music including rock 'nroll, country and western, rhythm and blues, and

folk music. Students who complete the basiccourse may be interested in this series.

Alfred's Basic Guitar Method, Volumes 1-6

Presents comprehensive, general guitar instruc-tion which touches on styles which would beappropriate for learning to play classical, jazz,

popular, and folk guitars. May be interestingto students who desire more thorough orienta-tion after the basic course of instruction.

The New Guitar Course Alfred D'Auberge and

Morton Manus

Alkire Publications, 75 North Second Street, Easton_ ,

Pennsylvania 18042.Spanish Guitar System (Eddie Alkire), Books 1-10

Single note to chord approach. Uses familiar

14

melodies rather than etude material. Progresses

slowly and logically. Alkire publishes a varietyof different books for guitar.

Armco Music Publishing Company, 33 West 60thStreet, New York, New York 10023.

Baxter's Complete Beginning Folk Guitar MethodBaxter's Finger-Picking Manual and Baxter's Flat-

Picking ManualThese publications present intermediate level

methods which might be used after the basiccourse has been completed. Both manuals areoriented toward folk-style playing and require

little knowledge of theory. Songs and melodies

are not included.Have Flag Playing Guitarit's Easy To Play Guitar With 6 Chords60 Songs With 6 Chords for Guitar

Mel Bay Publications, 107 West Jefferson Avenue, Kirk-

wood, Missouri 63122.

Folk Guitar StylesRoger Filbert°Better than average quality accompaniments to

a dozen or more of the older standard folksongssuch as Shenandoah and Black Is the Color of

My True Love's Hair. Melody and words have

been included with accompaniments which arenotated and written in tablature,

Fun With the GuitarFeatures a chord approach and is oriented to-ward the flat-picking rather than the finger-pick-

ing style. Few chords are used, but these arecomplete rather than partial. The songs presented are of the type used for community sings.

The Mel Bay Easy Way to Guitar, Volumes A, B,

and CIncludes a variety of types of music for the stu-

dent to learn. Presents some theory at the be-ginning, and is useful as a sequel to Fun With

the Guitar.

The Mel Bay Modern Guitar Method, Grades 1-7Might be used after the basic course has beencompleted, if the teacher is an experienced gui-

tarist. The method is not recommended for self-

instruction,

The Mel Bay Classic Guitar Method, Volumes 1-5Useful for students who want to learn how toplay a classic guitar after they have completedthe basic course of instruction. A competentinstructor is necessary.

Berk lee Press Publications, 1140 Boylston Street, Bos-ton, Massachusetts 02215.

The Guitar Phase I William G. LeavittIntended for the beginning guitar class. Stu-dents develop technical and reading skills whileplaying a variety of music from 17th-centuryrounds to 20th-century rock. Special two-,three-, and four-part arrangements permit theinstructor to assign parts at appropriate levelsof difficulty for each member of the group. Ap-proaches the guitar as a complete musical instru-ment, and prepares students for the more ad-vanced techniques in the Modern Method forGuitar series.

A Modern Method for Guitar, Volame I Wil-liam G. Leavitt

An approach to the development of melodic,harmonic, and rhythmic technique developed es-pecially for the serious guitar student and usedas a basic text for the Berklee College of Musicguitar program. Includes fundamentals; scale,chord, and arpeggio studies; special exercisesfor right- and left-hand development; solos;speed studies; accompaniment techniques; anda unique approach to voice leading through mov-able forms.

A Modern Method for Guitar, Volume II Wil-liam G. Leavitt

A continuation of the scale, chord, and arpeggiostudies presented in Volume I, but in consider-ably more depth (covering the entire -finger=board). Includes harmonic theory (intervals,chord construction, and relationships) and in-formation on scale resources for improvisationand special sections on rhythm guitar playing.Related to, and evolved from, studies and tech-niques previously presented in A ModernMethod for Guitar, Volume I.

A Modern Method for Guitar, Volume Wil-liam G. Leavitt

Continuation and expansion of techniques pre-sented in volumes I and II. Includes extensiveinstruction in scales; arpeggios; chord construc-tion; rhythm guitar (the right hand); specialfects (harmonics bongo, conga drums, etc.);chord-scale relationships; and solos ... duets.

Melodic Rhythms for Guitar William G. Leay.ttA presentation of the most common rhythmL.figures found in modern music. Forty-two ex-ercises (most of them with two systems of no-tation) and 92 harmonized studies or songs.Aids in learning "to sightread. Chord symbolsindicated on all studies provide an added sourceof material for chord practice and duet playing.

Classical Studies for Pick Style Guitar, Volume I® William G. Leavitt

A collection of solos and duets for intermediateto advanced players. Guitar music by Carcassi,Carulli, and SOr; piano and violin pieces fromBach, Clementi, Paganini, and Kreutzer tran-scribed for guitar with positions and fingeringindicated for more difficult passages. Acquaintsthe student with some good musical literatureof the past; provides an awareness of oftenoverlooked stylistic possibilities for pick-styleguitar; and generally builds technique and read-ing facility.

The Berklee Guitar Ensemble Series WilliamG. Leavitt

The series offers total ensemble experience insection playing of horn-type, single-line parts;rhythm section experience; and in many in-stances, opportunities (with examples cued in)for " comping " and improvisation. The ar-rangements are scored for five guitars (fifth gui-tar optional), rhythm guitar, muffled guitar (sub-stitute bass part), drums (optional), and bass(optional). Arrangements are graded (1 through7) and are complete with full conductor scores.

Big Three Music Corp. (Robbins), 1540 Broadway,New York, New York 10036.

Wes Montgomery Jazz Guitar MethodAn advanced method for single _note, octave,and chord jazz solos.

Wm. C. Brown & Company, 135 South Locust Street,Dubuque, Iowa 52001.

Guitar in the Classroom Timmerman- GriffithDesigned specifically to make guitar instructionpart of the general music class. Class activitieswith other instruments, appropriate recordingand film lists, and background materials are in-cluded.

Canyon Press, Inc., Box 1235, Cincinnati, Ohio 45201.The American School for the Guitar

A multivolume course for class instruction inguitar technique. Volumes I and 2, First Ses-

'16

SionS for the Guitar Class (an introduction toguitar technique through folk melodies andchords) and Second Sessions for the GuitarClass (an intermediate series of lessons whichinclude note reading), are now available. Thesehave also been supplemented by overhead pro-jection transparencies and tape recordings.

Clef Music Publishing Corps, 351 West 52d Street, NewYork, New York 10019.

Guitar Class Leon BlockSingle note and easy chord approach for classinstruction.

Picking the Country Favorites Richard W.Rightmire

Country favorites in traditional country andwestern picking style.

M. M. Cole Publishing Company, 251 East Grand Ave-nue, Chicago, Illinois 10611.

How To Play the Guitar, Volume IFeatures a single note and chord approach. Sinceinstrumental playing is emphasized, instructionin the fingerboard is given first. Some knowl-edge of theory is required.

Guide to Guitar Jack Moore

Collier-MacMillan, Library Service, 866 Third Avenue,New York, New York 10022.

Guitar Song. Book (A Method and Song Book)Frederick Noad

Quick and Easy Guide to Playing the GuitarFrederick Noad

A resume of folk, flamenco, and classical styles,with good reference materials.

Solo Guitar Playing = Frederick Noad

Franco Colombo, Inc., Belwin-Mills, Rockville Centre,New York 11571,

Classical Guitar Technique, Volumes I and IIAaron Shearer

A clear exposition of right-hand classical tech-nique which can easily be adapted toing,

C. G. Conn) Ltd., 616 Enterprise Drive, Oakbrook, 1

linois 60521.The Conn Method

A method book for teacher-guided self-instrue7don, designed to accommodate students of var-ied ability and level of accomplishment in oneclass. Professional performances on cassettetapes provided with the method book to encour-age imitation of tone, style, and interpretation.

Sam Fox Publishing Company, 1841 Broadway_ , NewYork, New York 10003.

Folk Strums for Guitar Ronny LeeFeatures a' folk-style approach and teacheschords as well as strums. No knowledge of the-ory is required; but either the student or theteacher must know the melodies, as none areincluded. An instruction record is also avail-able.

More Folk SIMMS for Guitar Ronny LeeA sequel to Folk Strums for Guitar.

Gwyn Publishing Company, Box 5900, Sherman Oaks,Calinia 91413.

Joe Pan Guitar StyleScales, ;arpeggios, chord substitutions, and im-provisatioQ !or the advanced student interestedin jazz guitar.

Oak Publications, 33 West 60th Street, New York, NewYork 10023.

Beginning the Folk Guitar Jerry SilvermanFeatures a folk guitar method; includes bothtraditional and contemporary folk_ songs as il-lustrations of various techniques; and teachesstrums, bass runs, the use of- the cape, etc.

Finger-Picking Styles for Guitar Happy TraumFeatures various finger-picking styles of someof the famous folk and western stars. Note-for-note transcriptions included. Since some knowl-edge of theory is required, this publication wouldbe most useful for students who have completedboth basic and intermediate level courses in gui-tar instruction.

The Flat-Picker's Guitar Guide Jerry SilvermanThe Folksinger's Guitar Guide Jerry Silverman

Presents an intermediate .course which includesboth traditional and contemporary folk music asillustrations of the various techniques. If thebeginning stages are supplemented with othermaterial, this manual could be used for a com-prehensive basic course of instruction._ Theory isnot emphasized. An instruction record devel-oped by Pete Seeger and Jerry Silverman is alsoavailable,

The Folksinger's Guitar Guide, Volume 2 JerrySilverman

A sequel to the first volume of The Folksinger'sGuitar Guide designed for the intermediate andadvanced guitar-picker,

Remick (Warner Bros., 7-Arts Music), 619Street, New York, New York 10019.

Enjoy Your Guitar Harry Reser

54th

William J. Smith Company, Inc., 254 West 31st Street,New York, New York 10001.

Sntith's How To Play Finger- Picking Style Guitar,Volumes 1 and 2

Features a combined melodic and chord ap-proach. Begins with 1-finger chords and pro-gresses to full chords, including transition.Community-sing and folksongs are used as illus-trations of the various techniques. Some theoryis taught.

Guitar Playing Made Easy for Everyone, Volumes1-5 Joseph Estella and George Roberts

Features a combined melodic and chord ap-proach, beginning with I-finger chords and pro-

.gressing to full chords. Teaches the student toplay both melody and chords, and providesopportunities for him to accompany himself ashe sings the songs.

Hello to Chords Joseph Estella and. GeorgeRoberts

Features a very easy chord method of instructionin guitar, beginning with 1-finger chords and pro-gressing to some full chords. Very little,, theoryis presented. The songs included are of the typeused for community sings.

Singin' and Guitarist' Folkstyle HandbookFeatures a folk-style chord approach. Strum pat-terns are presented through large-scale tablaturediagrams; transposition is taught at an earlystage; and theory is introduced intuitively withouta great deal of technical terminology.

Laura Weber Guitar Method, Volumes 1-3Directly related to the lessons presented byLaura Weber on educational television. Featuresa folk-style method; uses both traditional andcontemporary folksongs; and covers strums,transposition, bass runs, etc. Particularly valu-able if coordinated with the ETV presentations.

Sammy-Birchard Company, 1834 Ridge Avenue, Evans-ton, Illinois 60204.

Strum and Sing

A basic chord approach designed specifically forthe classroom.

17

FILMS

Andres Segovia. 1 min. sd. Wm. 16 mm. 1956.Master guitarist Andres Segovia d_ iscusses his workand plays several guitar solos, including Bach's

Prelude," Sor's Theme and Variations," TOr-roba's Sonatina," and a Spanish song. Filmed inhis Paris studio. (Concerts on film series, no. 109)prod, by World Artists. Dist. by Irving LesserEnterprises, Room 1527, 250 West 57th Street,New York, New York 10019.

Andres Segovia. 30 min. sd, b&w, 16 mm. 1962.In this film, Andres Segovia discusses his boyhood,his decision to play the guitar, his pursuit of a musi-cal career despite his parents' objections, and theneed to enlarge the repertoire of music for guitar.(The wisdom series) Prod. and dist. by Ency-clopedia Britannica Educational Corp., 425 NorthMichigan Avenue, Chicago, Illinois 60611.

The Classical GidtarA Miniature Orchestra. 23 min.sd. b &w. 16 mm. 1957.

Guitarist Rey de la Torre demonstrates the versa-tility of the guitar and explains how color and othereffects are produced. (Music for young people se-ries, program 9) Prod. by National EducationalTV, Inc. Dist. by the Indiana University Audio-Visual Center, Bloomington, Indiana 47401.

Classic Guitar. 30 min. sd. b&w. 16 mm. 1967.Classical guitarist Peter Griffiths musically tracesthe history of the guitar from its origin in the 10thcentury through today's renaissance. Prod. anddist. by the University of Michigan TV Center,720 East Huron Street, Ann Arbor, Michigan48104,

The Guitar. 22 min. sd. color. 16 rnrn. 1966.John Williams, a brilliant young student of masterguitarist Andres Segovia, describes the history ofthe guitar; illustrates effective techniques for play-ing it; contrasts the characteristic sounds of thelute, the classical guitar, and the electric guitar;and plays selections composed for the classicalSpanish guitar by Albeniz, Bach, and Paganini.(We make music series) Prod. by World Mirror-Realist Productions, Ltd., in association with theEducational Foundation for Visual Aids, GreatBritain. Dist. by Bailey-Film Associates, 11559Santa Monica Boulevard, Los Angeles, California90025.

18

Guitar from Three Centuries. videotape. 30 min,William Matthews discbsses the history of the clas-sical guitar with host James Macandrew and plays4 Luyedna," by Albeniz; Fantasia," by Milan;a fugue by Bach; a sarabande by Poulenc;. and pre-ludes 1 and 5, by Villa-Lobos. (A WCBS-TVCamera Three presentation) Available from theBureau of Mass Communications, State EducationDepartment, Albany, New York 12224.

Ian and Sylvia. videotape. 30 min,Folksingers discuss their art and philosophy. (AWCBS-TV Camera. Three presentation)

Instrument of the People. 20 min. sd. color. 16 mm.Shows the history and manufacture of the guitar,and demonstrates its versatility and popularity asa musical instrument. Prod. by Gibson, Inc. Dist.by Modern Talking Picture Service, 1212 Avenueof the Americas, New York, New York 10036.

Sabicas. videotape. 30 min.World-renowned flamenco virtuoso plays severalimprovisations on the flamenco guitar.(A WCBS-TV Camera Three presentation)

MAGAZINES

The Guitar Player, Eastman Publications, 843 The Al-ameda, San Jose, California 95126. Bimonthly.

Includes articles on all aspects of guitar meth-ods, styles, construction, recordings, etc.

Sing Out! The Folk Song Magazine, 33 West 60thStreet, New York, New York 10023. Bimonthly.

Includes songs, guitar chords, stories, and pictures.

INEXPENSIVE FOLKSONG COLLECTIONS

America's Favorite Ballads by Pete Seeger. New York.Oak Publications.

Includes 80 traditional songs and ballads.

Authentic Guitar Sounds of Peter, Paul, and Mary.Pepamar Music Corp., 619 West 54th Street, NewYork, New York 10019.

Includes tablature illustrating typical picking styles.

The Ballad of America by John A. Scott. Bantam

Books. New York. Grosset.

Burl Ives Song Book by Albert Hague. A BallantineBook. New York. Simon & Schuster. 1953.

A sequel called More Burl Ives was poduced in1966.

The Coffee House Song Book. New York. Oak Pub-lications.

Includes the melody_ , verse, and chord letters for164 songs, plus 30 basic strums and picking pat-terns,

Folksing and Round the World Folksing by. HerbertHanfrecht. New York. Berkley Publishing Corp.

Folksong Jamboree and World Folksongs by Maraisand Miranda. New York. Ballantine,

Guitar Workshop Publications. Roslyn Heights, NewYork 11576. 1970.

The Ballad Series. 2 vols.A collection of songs from the colonial period ofAmerican history and the time of the Revolution.Intended for beginning students of guitar and forprofessionals working with community, classroom,or 'clinic groups.

The Harvest Series. 3 vols.A collection of classic English and American folksongs and ballads designed for the advanced stu-dent of the classic guitar and folksong style.

The Minstrel Series. 3 vols.A collection of songs like those in The HarvestSeries, but with less complex guitar accompani-ments. Includes instrumental solos based on themelodies of the songs, and is therefore useful indeveloping a solo guitar repertoire.

Joan Baez Songbook. New York. Crown. 1964.Includes melody line, guitar chord letters, verses, andpiano arrangements.

A New Treasury of Folksongs by Tom Glazer. BantamBooks. New York. Grosset. 1964.