The University of St. Thomas

Guitar Studies: Courses and Ensembles

Elective and Performance Lessons

All manner of lessons and virtually all styles of music on and for the guitar are offered by the UST Guitar Stidies Program.

MIDI Studio

The UST Guitar Studies Program runs a full-time MIDI studio with both an electric and an acoustic guitar as a controller. Utilizing Pro Tools, Finale and constantly updated hardware, this studio enables students to record to disc, run mixdowns, and do multi-track composition.

Guitar Ensemble - MUSP 173

This class is a conducted ensemble which features material from the Renaissance to contemporary jazz. Also, there is an electric guitar component which performs repertoire from Bach to Zappa. Each semester the Ensemble makes a CD in a professional recording studio.

Small Guitar Ensemble - MUSP 174

This course is intended for the guitarist who is interested in the performance of music for guitar and other instruments. Typical combinations are with bass, drums, keyboard, full band, and all other orchestral instruments. All styles and genres are welcome. There is a live performance at the end of each semester.

Independent and Directed Study

This course is for the student who wished to delve into a specific topic in greater depth. With a faculty member as guide, research, source development, bibliography, performance practice, and pedagogy, to name a few, can all be accessed.

Fretboard Theory

In a continuing effort to produce guitar students with a more knowledgeable perspective about all aspects regarding their instrument, the UST Guitar Studies Program offers a course in Fretboard Theory. We believe that a graduate with a theoretically and musically well-rounded education will be better prepared for the professional world that awaits him/her.

Additionally, the non-professional guitarist will find this course useful as an aid for improvisation, composition and sightreading - three areas of great interest to the amateur and pre-professional. No other course of this type or content exists in the state.

The course has been designed to address these issues by focusing first on the basic harmonic layout of the guitar fretboard. Due to it's uniqueness (i.e. there are sometimes up to three different places that an identical pitch is found), the guitarist is often at somewhat of a loss as to where to locate specific pitches and harmonies in the most idiomatic positions. The course will then explore techniques of improvisation in numerous styles.

UST Guitar Studies jazz specialist, Joan Griffith teaches the course through the UST Conservatory of Music. Fretboard Theory teaches music theory by giving the student a better understanding and command of the guitar fingerboard. Areas of study include: chord and scale construction, key identification and transposition, chord functions and inversions. Prerequisite: basic ability to read music.

Guitar Literature - MUSC 320

The purpose of this course is to provide the student with a historical understanding of the heritage of the classical guitar by way of its instrumental predecessors, early and modern tutors, performers, composers, and its representation in Western Art.

Sample Syllabus

Week I. Opening Comments, report assignments
Week II. The Vihuela: the instrument, compositional styles and composers (Milan, Narvaez, Mudarra, Valderrabano, Pisador, Fuenllana) 1535-1554; four and five course guitars: the instrument, the Italian, French and Spanish schools (Corbetta, Roncalli, De Murcia, Sanz, Bermudo, Dalza, de Visee) 1596-1714
Week III. The Renaissance Lute: the instrument, compositional styles of the French, Italian, English schools (Besard, Milano, Robinson, Cutting, Rosseter, Johnson, Dowland) 1500-1620; the Baroque lute: the instrument, its role as continuo instrument, period transcriptions, the suites, the German and English schools (Baron, Weiss, Bach, Mace) 1600-1750
Week IV. The Guitar: the instrument, its composer/performers of the German, Italian and Spanish schools (Mertz, Molitor, Ferandiere, Nava, Regondi, Carulli, Giuliani, Legnani, Diabelli, Moretti, Carcassi, Paganini, Sor, Aguado, Tarrega, Llobet) 1770-1900
Week V. Continuation
Week VI. Continuation
Week VII. The Segovia Transcriptions: (Granados, Falla, Albeniz) 1920-1950
Week VII. The Segovia Commissions/Dedications: (Torroba, Turina, Rodrigo, Tansman, Roussel, Milhaud, Ponce, Villa-lobos, Manen) 1920-1950
Week IX. Continuation
Week X. The Bream Commissions and Dedications: Rawsthorne, Britten, Berkeley, Arnold, Dodgson, Walton, Eastwood, Searle, Bennet, Davies, Henze) 1960-present
Week XI. Continuation
Week XII. Latin and South America: (Villa-Lobos, Ginastera, Lauro, Chavez, Brouwer, Piazzolla) 1920-present
Week XIII. The Contemporary Guitar: (Takemitsu, Bolcom, Krenek, Ohana, Brindle, Halffter, Martin, Musgrave, Rorem, Gerhard) chamber music: (Stravinsky, Kagel, Davies, Brindle, Takemitsu, Crumb, Davidson)
Week XIV. Review.

Guitar Pedagogy - MUSC 307

The purpose of this course is to provide the student with a practical and sensitive foundation for teaching a variety of guitar styles by way of a chrononogical survey taken from a selection of primary and secondary sources. Additionally, it will prepare the guitarist to function in a variety of teaching environments (retail music stores, community colleges, churches, home studios, universities) and in a number of genres.

Sample Syllabus

Grading

One in-class research presentation 40%
One final project 50
Class Preparation/Participation 10%
The in-class presentation should contain a critical analysis of assigned method books and study aids with a focus on presentation (speed of ideas, sufficiency of materials, progressivity), dependancy on teacher involvement, appropriateness for specific student level and overall quality of programmed methodology.
Week I. Introduction, lecture/demo technique for presentations, materials assignment.
Week II. Materials Perusal
Week III. Student Reports
Week IV. Student Reports
Week V. Student Reports
Week VI. Student Reports
Week VII. Student Reports
Week VIII. Discussion: The Natural Classical Guitar by Lee F. Ryan, and The Art of Classical Guitar Playing by Charles Duncan
Week IX. Outside Master Class
Week X. Student teaching: Student development of own curriculum for studio instruction and practical experience in teaching private lessons, discussion and practicum of the "first lesson", further development of "graded" repertoire and approach: beginner, beginner with playing background, "experienced student" (already playing and performing pieces, pre-professional).
Week XI. Student Teaching
Week XII. Student Teaching
Week XIII. Student Teaching
Week XIV. Wrap-up

MUSC 307 Guitar Pedagogy Bibliography

19th Century

  • Arte de Tocar la Guitarra Española por Música. Fernando Ferandiere, Tecla Editions, 1799.
  • Studio per la Chitarra, Opus 1, Vol. 1. Mauro Giuliani, Tecla Editions, 1812.
  • 24 Studien, Opus 100. Mauro Giuliani, Schott, 1812.
  • 24 Etüden, Opus 48. Mauro Giuliani, Schott, 1812.
  • The Complete Studies for Guitar. Fernando Sor, Shattinger International Music Corp., 1830.
  • New Guitar Method. Aguado, Tecla Editions, 1843.
  • Metodo de Guitarra. Dioniso Aguado, Union Musical Española, 1843.
  • Opere per Chitarra, Vol. 2. Francisco Tárrega, Bèrben, 1880.

Early 20th Century

  • A Modern Method for the Guitar, Vol. 1/Vol 2. Pascual Roch, G. Schirmer, 1921.
  • Guitar School, Books One & Two. Emilio Pujol, Editions Orphée, 1934.
  • El Dilema del Sonido en la Guitarra. Emilio Pujol, Ricordi, 1960.

Modern

  • Solo Guitar Playing, Book 1. Frederick M. Noad, Schirmer Books, 1968.
  • Guitar Method, Vol. I. Christopher Parkening, Antigua Casa Sherry-Brener, Ltd., 1972.
  • First Lessons for Guitar, Vol. I. J. S. Sagreras, Ricordi Americana, 1975.
  • Las Segundas Lecciones de Guitarra, III & IV Lecciones. J. S. Sagreras, Ricordi, 1975.
  • First Book for the Guitar. Frederick M. Noad, G. Schirmer, Inc., 1978.
  • A Modern Approach to Classical Guitar, Book 1. Charles Duncan, Hal Leonard Publishing Corp., 1981.
  • A Modern Approach to Classical Guitar Repertoire, Part I & II. Charles Duncan, Hal Leonard Publishing Corp., 1981.
  • Pop Classics, Book One. Charles Duncan, Hal Leonard Publishing Corp., 1981.
  • Studies Diatonic Major and Minor Scales. Andres Segovia, Columbia Music Co., 1953.
  • La Technica Degli Arpeggi. Guglielmo Papararo, Bèrben, 1965.
  • Serie Didactica Para Guitarra, No. I, II, III, IV. Abel Carlevaro, Barry, 1966.
  • The Musician's Handbook. Louise Curcio, Joseph Patelson Music House, 1968.
  • Slur Exercises and Chromatic Octaves. Andres Segovia, Columbia Music Co., 1970.
  • The Complete Tremolo Book for the Guitar. S. Papas, Columbia Music Co., 1975.
  • Musicianship & Sight Reading for Guitars. Oliver Hunt, Musical New Services Ltd., 1977.
  • Guitarcosmos, I, II, III. Reginald Smith Brindle, Schott & Co. Ltd., 1979.
  • Guitar Master Class. R. J. Sherrod, Belwin Mills, 1980.
  • Discovering the Art of Guitar Fingering. Ronald J. Sherrod, Alfred Publishing Co., 1980.
  • Sight Reading for the Classical Guitar. Robert Benedict, Deshon Music Inc., 1985.
  • Encyclopedia of Guitar Virtuosity, Vol. I. Michael Savary, Chanterelle 731, 1987.

Treatises

  • The Art of Classical Guitar Playing. Charles Duncan, Summy-Birchard Music, 1980.
  • The Natural Classical Guitar. Lee F. Ryan, Prentice-Hall, Inc., 1984.
  • Popular-Folk/JazzComplete Course in Jazz Guitar, Book I. Mickey Baker, Lewis Music Publishing Col., Inc., 1955.
  • Joe Pass Guitar Style. Joe Pass & Bill Thrasher, Gwyn Publishing Co., 1970.
  • The Howard Roberts Guitar Book. Howard Roberts & J. Stewart, Playback Music Publishing Company, 1971.
  • Basic Jazz Improvisation. Joseph Levey, Shawnee Press Inc., 1971.
  • Guitar Manual Chord Melody. Howard Roberts, Playback Publishing Company, 1972.
  • The Folk Singer's Guitar Guide. Jerry Silverman, Oak Publication, 1973.
  • Jazz Guitar Solos. Wes Montgomery, Almo Publications, 1976.
  • A Pro's Approach to Melody and Chord Playing. "Bucky" Pizzarelli, Camerica Publications, 1979.
  • Expanding Jazz Harmonies. Mike Elliott, Hal Leonard Publishing Corp., 1980.