NEW BULGARIAN UNIVERSITY

Prof. Panayot Panayotov PhD

METHODOLOGY
OF GUITAR
INSTRUCTION

SOFIA, 2011
1

The textbook has been approved for printing by the Committee of Culture
with letter 3 / 24.02.1993.

4nd revised edition

Panayot Panayotov - autot, 2011
Vanja Radeva - English translation, 2007
All rights reserved / 1st edition, Copyringht 1995
1517 Sofia, "Suha Reka" bl. 85, entr. E, App. 19
Tel. ++ 359 (2) 845 52 85;
E mail: pppanayotov@nbu.bg

PREFACE
Music education is an element of the overall education of the personality.
For this reason, no matter how specific the process involving the formation of
music literacy and the development of music capabilities in the rising
generation is, it follows entirely the logic of the general educational process.
For this particular reason, music pedagogy should be viewed not only in the
light of the science of art, but also in the context of the general impact and
interrelation of all sciences covered by the title humanities (psychology,
general pedagogy, physiology of the supreme neural activity, sociology etc.).
From

there

music

pedagogy

draw

its

principal

formulations

and

mechanisms of impact on human being.

If music pedagogue wishes to be successful in his overall work, he
should have knowledge and make use of the commonly valid didactic
principles and rules. This is due to the fact that these form an entire system,
with the most important principles and rules for our work among them
being: scientific mode of education's organization; connection between theory
and practice; unity of concrete and abstract; systematical approach in
instruction; intelligibility (clearness); the student's self-directed work as a
basis for joint work.
The essence of methodic education in the area of arts evolves from their
specific, from the particular way they mirror reality, as well as their unusual
social function. This reflection happens through definite art images. In fact, in
music education there is aggregate of clearly set aims and tasks that need to
be clarified and aesthetically justified.
Esthetic education is also another important factor for general creation of
music. It is result of social system, material and spiritual culture, family and
school environment. All this is particularly important for the creation and
rationalization of art works. Logically, aesthetic education leads to the
formation of aesthetic taste. Nevertheless, although aesthetic taste is strictly
individual, it is influenced by economical, political, professional and other
factors. Thus, music performing process is subordinate to the aesthetical
objective laws of all kind of arts. Several psychological and physiological
3

factors have an impact as well. They are mainly related to the functioning of
the supreme neural activity of the human being. This implies the responsibility
of pedagogue, supported by the family, for the students' psychological balance.
The psychological balance of the guitarist is of great importance. It is
established gradually, starting at the earliest possible age. It is essential since
it allows the guitarist to express himself completely and show his personal
qualities at his performance. They on their part will be brightly pronounced if
there is strength of will, strong character, professional habits, and logical
thinking. On the last one should start working just from the beginning of the
instruction process.
Logical thinking, considering the specific character of the motor activity in
guitar playing, is an essential factor for the development of sustainable
technical skills and is closely related to various psychological and
physiological reactions. That's why the approach and methodology, as well as
the skills and capabilities of the teacher, are of major importance for the
establishing the students qualities.
Teacher bears great responsibility in the entire educational process and
this responsibility is determined by his character, general knowledge, morals
and behavioral pattern. At the same time, the authority of the teacher builds
upon his impact on the student's development. The teacher ought to maintain
his professional standard while continuously improves his conceptual and
methodological approach.
What are the qualities that a good teacher should possess? After all, he
should have a well-rounded personality, being high level musician, have a
comprehensive instrumental training, possess stage experience, and be
familiar with guitar's literature. Also, he needs to be watchful, patient, with
critical mind, aspirated for elaboration and etc. The educational role of the
teacher should be preferably also multi-flow: moral, working, aesthetic, and
intellectual one. It should be mentioned also that if the pedagogue does not
possess self-initiative, con-temporary outlook and professional sense he
would not be able to achieve certain results through imitating colleagues only.
A subject of the current work is to systemize and highlight the main
4

points and the correct proceeding of guitar instruction realized through the
mental and motor activity. It is very important the teacher's approach in
realization of the complicated coordination mechanism between the left and
the right hand, which is essential for tone production. The accent is on the
position and fingering, the ways of releasing the tension in muscles in
mastering particular techniques, etc. Here are also treated the main
principles for development basic methods and forms of work for the
pedagogue and his students.
This Textbook can be used by lecturers and students at National Music
Academy "P. Vladigerov", New Bulgarian University, Sofia University "St.
Climeht Ohridski", Academy for Music and Dance in Plovdiv, American
University in Blagoevgrad, Veliko Tarnovo University "St. St. Kiril & Metodii". It
may also be a useful appliance for pedagogues and pupils at music high
schools, as well as for guitar teachers at preparatory music schools.

ORIGIN, HISTORICAL DEVELOPMENT AND CONSTRUCTION

OF THE GUITAR
The origin of the guitar is not precisely stated but it has been
mentioned still in Antiquity. The first known instruments were quite
primitive and were producing noise and sound. The instruments that were
producing tones free of noise appeared later-on.
The oldest known melodic instruments were the wind ones -flutes
made of bones, horns, and whistles made of wood. Much later the string
instruments appeared. Guitar belongs to the string instruments played with
plucks and pulling with the fingers or with a plectrum. According to the latest
studies the word "kithara" stems from the Phoenician word "kuthar", following
the name of Artisans' God. Already in Ancient Greece we come across an
instrument similar to the lyre, called "kithara". The Romans called it "cithara",
the Arabs "qitara", the Persians "sitar" (Seeger, Fr. 1986, p. 84). Even today the
Persians, Arabs and Ukrainians have an instrument called bandura, which has
some similarity with the guitar.

Ancient "Guitar"
Fig. 1

Bandura
Fig. 2

Seven-string vihuela (year 1555)

Fig. 3

With dissolution of the Roman Empire the West Goths / around 450 A.D. /
brought to Spain a string instrument called "fidula". During the same period
the Romans used a similar instrument "vitula" or "fidicula" (Klier, J., In. HackerKlier, 1980, p. 88).

Thus, later on the vihuela emerged, having certain role in the

European music life.

Vihuela (Vitula)
Fig. No. 4

Lyra Guitara
Fig. No. 5

There are also known other varieties of the instrument, such as vihuela
de arco (played with a bow), vihuela de pendola (played with plectrum),
vihuela de penola (played with plectrum), vihuela de mano (played with
plucks and strokes).
In Spain (San Lorenzo del Escorial Monastery) are preserved drawings
from (Fig. 6) XIII century (Seeger, Fr. 1986, p. 88) depicting a Mauritanian guitar
/guitarra morisca/ and a Latin guitar /guitarra latina/.

Mauritanian guitar XIII cent.

Fig. 6

Espanola guitar (1586)

Fig. 7

The Mauritanian guitar (Fig. 6) has many distinguished features of the

lute: it has a pear shaped body with several small resonance holes on the
upper resonator board/ plank. Its' neck is relatively long. The Mauritanian
guitar has 8 strings.
The Latin guitar contrary to the Mauritanian guitar reminds strongly of the
contemporary Spanish guitar. The Body is flat, the back and top
Soundboards are connected with Body sides (Zarge-German), and the body is
shaped like the figure 8. There is Sound hole with a Rosette inlay and it has
4 Frets above which 4 strings are strained.

Pandore XVII. Cent.

Fig. 8

Tambura
Fig. 9

Harfencister (1590)
Abb. No. 10

Chitarra battente
Abb. No. 11

An instrument related to the guitar, probably of Assyrian origin, is the

pandore (Fig. 8). In Arab countries it is known as tambour and in Bulgaria as
tambura (Fig. 9). It has been used as a general bass instrument and usually
has 5-7 double strings. The pandore has never played such an important
role in music life as the vihuela and the luthe.
One of the most popular musical instruments, forerunner of the guitar in
the XV-XVII centuries, is Lute (Fig. 12). Entering laterihe life of Eastern
people, it played an important role in the musical culture of Western Europe.
Today the lute it is still used. The number of strings has been changing
according to the demands and changes in music practice.
Following historical development and evolution of the guitar compare
with

its

predecessors,

we

notice

conservative

reciprocity

and

transformations, which are also used to have double strings /very often not
fixed numbers/: four strings, five strings, seven string (Filip, J. 1969, p. 870).
Subsequently the five-strings guitar / XVI XIX centuries / has lost its'
importance, meanwhile the seven-string guitar (well-known in Germany,
Poland, France, Italy and Russia) have been used in asia till nowadays.
Sometimes it is called even the "Russian guitar". It has been used for
accompanying romances and folk songs.
According to Fr. Seeger the oldest preserved vihuela has been dated to
the 1581 and the oldest five-strings guitar was found in Lisbon (Portugal).
Presumably it was constructed around 1581 too (Seeger, Fr. 1986, p. 92).

Luthe
Fig. 12

Armenian Oud
Fig. 13

In 1788, the Duchess Anna Amalia brought to Weimar a five-string

Italian guitar. This has been a turning point in the evolution of the guitar, when
later the luthier Jakob August Otto, on advice of the Dresden Konzertmeister
Naumann, has added a sixth string. Thus, the guitar was given its current
tuning E - A - d - g - h - e 1 . Still, it took many years while guitar obtained
its modern shape. Improvements were made in Germany, Italy, Spain as well
in other places.
During the XIX century we see the guitar in its classical shape. Great
contribution to this have had both the Spanish luthenist from Seville Antonio
de Tores and the guitarist Julian Arkas, As a result of their joint work in 1883
came out the famous model /Jurado/. It has bigger body and a modified
connection between soundboards (Fig. 17). This model is still current (Seeger,
Fr. 1986, p. 110; Wolman, B. 1968, p. 24).

"Italian" guitar of
Anna Amalia (1788)
Fig.. 15

Guitar - XVI century

Fig. 14

Any contemporary guitarist should know in details the guitar structure

and shape since modifications affect directly the methods of teaching and
tone production. Furthermore, familiarity with the components of the guitar
enables the guitarist to make small corrections, such as the adjustments of
the upper and lower bridges.
The upper bridge serves for correct positioning of the strings in equal
distances and fixes them at particular height above the fingerboard.
The upper bridge serves for correct positioning of the strings in equal
10

distances and fixes them at particular height above the fingerboard.

The adjustment of the height of the strings happens through the lower
bridge of the string-saddle.
Several different models are used in practice and the one shown on Fig.
18 is only one of the most common.
Seven- strings and twelve strings guitars are also used, where the
sound production is quite different.
In the 20th century begind production of amplified electronic quitars. First
to try such an instrument was the guitarist Edi, Durham (born 1909) and later
in 1941 another guitarist Les Paul (born 1916).

Ukulele
Machate
Stock-Gitane (Anfang XIX Jh.)

Model /Jurado/
Fig. 17

Fig. 16

The first electric guitar "Solidbody" (Fig. 19, 23) were constructed in 1941
(Wicke, P., W. Ziegenrucker, 1985, p. 187) by the American guitarist Les Paul.
Leon Fender introduced in 1948 a new model electric guitar
"Broadcaster", which became famous worldwide with the name "Fender
Telecaster" (Wicke, P., W. Zigenrucker, 1985, p. 156). Almost at the same time another
model of Paul Bigsby appeared within The Gibson Company. These models
will remain legends in the history of electric guitar development. There are
many others, of course, that should be mentioned such as "Fender
Stratocaster", "Les Paul", "Hammer Special", "Destroyer II" and etc.

11

Fig. 18
1 headstock; 2 machine heads (peg heads, tuners); 3 nut; 4 fingerboard; 5 metal bar; 6
fret (position); 7 neck; 8 amplifying rod; 9 heel; 10 sound hole, rosette; 11 top
soundboard; 12 rosette inlay; 13 pickups; 14 lower bridge; 15 string saddle; 16 short
soundstruts; 17 long soundstruts; 18 sideboard; 19 heel; 20 back soundboard; 21 lamella

Fig. 19
1 headstock; 2 machine heads (peg heals, tuners); 3 truss rod; 4 n u t ; 5 metal bar;
6 fingerboard; 7 fret ( position); 8 marker dot; 9 neck joint; 10 b o d y; 11 tremolo
mechanics; 12 adapters' switch (pick-up selector switch); 13 output socket; 14 volume
control; 15 electromagnetic adapters (pick-ups); 16 plastic board; 17 sound-control buttons; 18
tremolo arm; 19 lower bridge saddle; 20 parts of the regulated; 22 lower bridge; 23 string
holder

12

Nowadays various electric guitar models are produced by following

development of electronic technologies. Various application ot the guitar
acquires more precise defining of its functions. That's why different terms like
the following have appeared: solo guitar used for solo performance; rhythm/accompanying/ guitar for accompaniment of solo instruments and singers.
These functions have seemed to be crucial sometimes and have led to
changes in the guitar construction. Additional electronic devises and the
qualities of the amplifiers have also an important role.
The instruction process itself shouldn't be underestimated too. It demands
classification of the different models and their variants, because the
construction of the guitar, its shape and size are direct precondition for the
methods of instruction. Thus the need of different instruction aid for the guitar
schools emerges.

13

CHOOSING MUSICAL INSTRUMENT,

CLASSIFICATION
Usually it is considered that a high-quality guitar is an old instrument in
a good condition. Others think the guitar must be played for a long time to
become full- toned.
It is true that the quality of the guitar depends on the sonority,
construction, material quality, shape and size. The quality of the instrument
may strongly influence the beginner's whole attitude toward the lessons since
it largely depends on the pleasure from playing. An imperfect instrument
would only cause further irritation to the student. Thus, before the training
starts the student should be provided with an instrument that best fits his
anatomical features. In the countries where the guitar faces great popularity
and education is set on a professional basis,

/4 and

/2 guitars are

constructed for the youngest children (starting training only with fingers).
Thus, children could attend guitar lassoing at early school age.
As to the exact type of guitar, choosing of the instrument should be
based on a classification of the different variations concert (classical)
guitar, plectrum-guitar /resonance, half-resonance, solid-body/, double-neck
guitar, western guitar, ovation guitar etc. (Wicke, P., W. Ziegenrucker, 1985, p. 183,
184).

Although the student will could be different, it is recommended to start

training with a standard (classical) guitar played only with fingers. In this way
the student could acquire fundamental techniques and performing skills that
would serve him later in playing not only classical music but also jazz, rock,
pop and etc. After having mastered the correct position and fingering and
having acquired the necessary performance habits, the student can
improve on his own his skills according to his personal wishes (Panayotov, P.
1988, p. 5).

Valuation of the guitar qualities should not neglect its appearance and
the proportions between the different components and ornaments. Major
requirement is that the guitar should be in particular proportion to the
performer's height. This is especially important in the initial work with small
children where the already mentioned 1/2 or 3/4 guitars are recommended.
These guitars make easier acquiring the basic technical skills from the

14

beginners.
The classical 6-string guitar is used to have plastic strings. Metal strings
are used in country music, 12-string and electric guitars.
When a guitar is going to be chosen is necessary to check the condition
of the fingerboard. It should not be misshapen or rugged. When the
fingerboard is curved the stretch of the strings is tighter than allowed one and
they are hard to be pressed, especially in the high finger positions. This also
brings low sound quality (Pujol, E. 1983, p. 11).

Classical guitar
Fig. 20
(1 body; 2 measure*; 3 strings)

___________________
* Measure the distance between the lower and upper bridges of the guitar.

15

Fig. 24
Resonance
electric guitar

Fig. 25
Half-resonance
electric guitar

Fig. 26
solidbody
electric guitar

Fig. 21
Fig. 22
Fig. 23
Western guitar Double-neck guitar Ovation guitar
/a, b/

16

Low quality sound can arise in the case of worn or damaged frets and
strings, Worn frets cause distortion of the amplitude.
The genuine guitar has parallel frets with the same height placed at
precisely calculated distances from each other.
The upper and lower bridges also play an important role for the sonority
and the exact intonation. If the bridges, especially the lower one, are too
high the strings are difficult to press. For a delicate child hand this pressing
can cause painful experience.
On the other hand, if the bridges are too low, the sound is dull and
faint, and the strings may even touch the frets.
Correction is possible through increasing or decreasing most often of
the lower bridge height.
In electric guitars correctors for fine adjustment are in use for the upper
and lower bridges.
The check-up of the measure (see fig. 20) is compulsory (Wicke, P., W.
Ziegenrucker, 1985, p. 182).

Usually it is between 63 and 65 cm and the interval

between the note on the open string and the one of the 12th finger position
must be a perfect octave. For the electric guitars it is desirable that the
measure of each string is adjusted separately.

17

SHAPE OF FINGERS, FINGERNAILS AND PLECTRUMS

Guitar can be played with fingers /fingernails/, plectrum, combined

(with fingers and plectrum), with a ring (Slide Guitar) or with a steel
bar/slide (Hawaiian guitar).
For those who play with fingers the appropriate shape of the fingers
and fingernails is very important. It is given by nature but can be
corrected to a certain extent. The length of the fingernails is essential for
tone production and if they are with the normal shape, it is up to the
performer's individual choice (Panayotov, P. 1991, p. 79).

b
Fig. 27 / a, b /

The fingernails of the right hand should be shaped with a file, not
with scissors and, most important, they should not have roughnesses. In
case of crackly, eagle-like and upward-growing nails it is better to keep
them as short as possible. In some of such cases it may even be better
not to use them at all.
The fingernails of the left hand should be cut as deeply as possible.

Fig.. 28 / a, b, c, d /
18

If the instruction of playing goes with plectrum, one with the appropriate
shape must be selected. This is relatively connected with the character of
music, style and the level of education. In practice various types of plectrums
are in use (Tibor, C. 1983, p. 8; Burrows, T. 2002, p. 38).
Still, among the numerous existing shapes the following are preferable
(Buhe, T., W. Hiew, 1988, p. 8-10):

b
Fig.. 29 / a, b /

When the combined technique* (see p. 75) is applied, most convenient

are plastic or metal fingerpicks attached to the fingers.

Fig.. 30 / a, b, c /

Other objects are also in use, such as sharp-pointed fingertips in the

shape of the nails (Panayotov, P., G. Mirtchevski, 1989, p. 5).

________________
* See "Combined technique" p. 71

19

The thickness and shape of the plectrum play specific role in sound
formation and quality. The plectrum should be made of flex material since a
hard plectrum hampers the movements and produces harsh sound. Too thin
plectrums are also inappropriate. They produce weak and dull sound. The
size must be also considered. Quite big plectrum would impede the
movements and a tiny one would be difficult to be hold (Panayotov, P. 1988, p. 8).
Special attention must be paid to children willing to play guitar
professionally, but whose fingers have inappropriate shape and length. It is
better to redirect them to another kind of instrument.

20

TRAINING OF BEGINNERS
Candidates willing to play guitar should undergo a thoroughly selection
based on their physiological characteristics and musical endowments.
The physiological characteristics are determined through a medical
examination and are related to the idiosyncrasies of body and hands. The
pedagogue has to check-up the shape of the wrists and fingers, as well the
shape and hardness of the fingernails. Method and way of training depends
on these individual, natural characteristics.
Musical abilities are complex of: having an ear for music, metrorythmic
sense and musical memory. Sometimes, at the beginning, regardless even of
his maturity and abilities, student has difficulty to cope with the assignments.
This is most often due to the lack of habits, stiffness of fingers, psychological
stress and etc.
Only after discovering presence of physiological characteristics and
musical talent it is possible to start with the instruction process. This is
essential moment for the formation of basic habits related to the fingering and
which have direct impact on tone production. Exactly at the initial stage of
instruction

the

difficulties

are

more because

of

student's lack of

apprehension abilities and physical troubles dealing whit the instrument.

Differences in the mental and intellectual capacities of children are also
important. This complicated complex of problems must be dealt at the very
beginning in order to avoid formation of wrong habits which are difficult to
correct later on.
From the very beginning of training, while mastering the individual
elements of tone production, one should work on the reflex reactions of the
student. That means to stimulate him to stay concentrated and purposeful in
performing and to avoid pure mechanical movement of the fingers. It could be
easier achieving it if stirring and right movements of hands, achievement of
tone production and finger positions (in the left hand) are acquired step by
step fist by the right hand, then by the left one and finally both
synchronization.
Along with the practical exercises, student should acquire theoretical
knowledge that will add to his overall creative and intellectual development.
21

Pedagogue, on the basis of his knowledge in physiology, psychology,

acoustics, methodology and etc., should also consider the specific individual
features of students. The instruction process should not cause stress and
irritation. On the contrary, it has to be organized in a way that stimulates
student's physiological, spiritual and artistic growth. Family and school
environment can widely contribute, but the pedagogue is one who must
follow closely and advise the student, in order to acquire right habits and
self-control

and

being

able

to

study

autonomously

and

organize

appropriately his time for working and spare time.

Contemporary concepts suggest guitar instruction should start as early as
possible, at an early school age in case student owns necessary physical
characteristics, aptitude and appropriate instrument. Of course, instruction
could also begin with other instrument (violin, piano) or just with solfeggio and
music theory. If the training begins with guitar it is best to have the classical
model and we recommend that the student education begins with mastering
the finger-playing firstly. After acquisition of permanent techniques and
performing habits one can be moved on to plectrum or to combined method
/fingers and plectrum/. The earlier the instruction starts, the easier is for the
student to overcome the psychological barriers if there are such and to
accelerate re flex reactions.

The instruction itself should begin with the right fingering, first acquiring
the movements of the right hand thumb I p I, then of the index finger/ i /,
middle finger I m l and ring finger I a I. Immediately after muscles strain of the
right hand has been released on open strings, one can move on to the
shaping finger positions and training of the left hand. It is better while

22

acquiring the movements of the first, second and third finger of the left hand
not to work on fourth finger, and after getting some steadiness to include it into
exercises (Panayotov, P. 1993, p. 14-19; Eulner, M., J. Dreksler, 1986, p. 86-91).
There are also other concepts of the beginning approach, such as
stirring with alternation of the fingers firstly the index finger / i / and the middle
finger of the right hand while simultaneously exercising the left hand fingers
(Peter, U., Band I, p. 9). This approach entails much more irritation which slows
down mental - motor process. There are also other drawbacks of this
method, but most strong is the slow or ineffective process of relaxation of the
excessively strained hand muscles, which itself hampers the acquisition of
the correct movements.
To acquire much more stability, better control and ease of movements,
one should use as support strings 3, 2 and 1 with corresponded index
finger / i /, middle finger I m l and ring-finger / a I respectively. This is one of
the ways to master easily the technique of stroke playing - Rest stroke
/apoyando Spanish/. After learning to deal with strings 4 and 5 in the
exercises on string 6 to the movements of the thumb I p I with rest stroke
one can add also the movements of the index finger / i / with Free stroke
/tirando - Spanish/ but only on an open 3 string, having the middle finger / m
I and the ring-finger IaI being laid on strings 2 and 1 (Panayotov, P., p. 24, 26).

In the same way proceed the exercises with the middle I m l and the ring
1 a I finger, but always with support by one of the free fingers leaned against

the strings.

23

After attaining more ease of the movements, one should make different
combinations with pim, pmi, pma, pima, while including the ring-finger of the left
hand (Peter, U. Band I, pp. 29, 33, 37, Panayotov, P. 1993, p. 27-35).

It is difficult to master coordination between left and right hand. Beside

correct movements of the both hands, decisive role in this process plays the
mental activity (purposeful mental-motor activity). It is no chance that
technique is connected firstly and foremost with quick logical thinking and
fingers dexterity. Other components which must be practice at the very
beginning are: ability of exact reading of sheet music, including rhythm and
dynamics The selection of study material must be appropriate with the age
and performing skills of the student.
It is the beginning of instruction process when the appropriate fingering
habits are shaped and the basic methods of tone production with rest stroke,
24

free stroke or plectrum are acquired. Also, the excessive tension in the
muscles and psychological inhibitions are overcome, which is fundamental
to the experience of pleasure and joy during performance in terms of the last,
apart from the regular technical exercises and artistic material, the lessons
can include ensemble playing (with the pedagogue or other student).
For the beginning level of training the following text-books are
recommended:
Panayotov, P. Practise-book for guitar. Sofia, 1993.
Panayotov, P. Beginner's practise-book for guitar. Sofia, 1994.
Pujol, E. Practise-book for 6-string guitar. M., 1983.
Peter, U. Anfangsunterricht im Gitarrespiel. Band I, II, Leipzig.
Segovia, A., G. Mendoza Guidence for the Beginner-A. Segovia, My Look of
the Guitar: London, 1979.
Eulner, M., J. Dreksler Gitarren-Schule. Bad Wimpfen, 1986.
Underlying principles that pedagogue has to follow in instruction process,
regardless of the textbooks used, are: systematic and individual approach,
demonstrativeness, consistency, and simplicity. Hence, considering the
specific character of instrumental education, small children should attend
lessons at least 3 times per week at the beginning, with lessons duration not
more than 1 0 -15 min. Experienced pedagogue should be aware that does
not only teach guitar but also solfeggio, elementary music theory, chamber
music and etc.
Beginning to study guitar student needs also to be able to read sheet
music. This is an important factor for faster and precise mastery of performing
skills. Contemporary stave notation adopted in the XVIII century gives new
incentives and directions in educational process but there are also other ways
of notation such as the tabulature notation (TAB), applied mostly during the
XVI XVII centuries (Lazarov, S. 1965, p. 142).
So, in spite of the traditional writing down with note signs, there is another,
quite popular and practical way, namely tabulator notation writing with
numbers, i.e. the six lines, being the strings of the guitar and with numbers is
marked the position of the fingers (Panayotov, P. 1988 S. 24; Burrows, T. 2002, S. 94149).

25

Another frequently applied method of studying is memorizing by ear from

audio recordings. An important requirement for that method is that musician
(student) should have very good ear for music, musical memory and rhythmic
sense. Writing down melodies, even of some separate passages, is not easy
and if one lacks the skills to make it, this usually results in distortion of
musical texture.
Although traditional process of instruction is based mainly on sheet
music and listening to recordings for comparison, this should not pose an
obstacle for those who haven't such a skill but want to take lessons and
enjoy guitar playing. It depends on the pedagogue and his approach to win or
put off lovers of this very popular instrument.
Recently this tone writing is the new American wave, which is well
accepted in Europe as well. That is understandable, as most of the people
willing to learn to play guitar, cannot read notes.
Recommended supporting literature:
Bay, M. Chet Atkins "of the record". USA,1976.
Johansson, L. The Musik of Jelly Roll Morton. London, 1982.
Panayotov, P., G. Mirchevski Country and Blues for Guitar. Sofia, 1989.
Burrows, T. Die groe Weltbild Gitarrenschule. Augsburg, 2002.

26

POSITION
Position includes the correct and appropriate posture of the body and
hands. The position reflects on correct tone production and technical
perfection. The right position determinates achievement of the most natural
and rational movements, which is the decisive factor for avoiding tension and
prerequisite of good psychological balance (Panayotov, P. 1993, p. 13; Peter, U. Bd.
1, p. 6; Westizki, P. 1989, p. 13; Eulner, M., J. Dreksler, 1986, p. 14-15).

Fig. 31

Fig. 32

The guitarist should sit on the front part of a hard chair (If pelvis sinks into
a soft ground and the tights touch the edge of the chair legs quickly become
stiff). The left foot is usually placed on a stool/ stand in front of the chair where
the guitarist sits. The height of the stool/ stand varies from 10 to 18 cm
according to the height of the performer. The guitar's frame must be on the
left thigh in the way that guitar's corpus is parallel to the guitarist's body. The
performer's body is slightly bent forward touching the corpus. The back of the
frame touches closely the right tight. The guitar is held with some slope so that
fingerboard points to the left shoulder / Fig. 31 /. The right hand is placed on
the front part of the side board above the string saddle It's fulcrum is a little
before the elbow with the wrist slightly bent, hanging down freely / Fig. 33 /.
27

Fingers should be lightly curved, thumb sticking out in front of them and
pointing string's direction (Panayotov, P. 1993, p. 13; Peter, U., Bd. 1, p. 6; Westizki, P. 1989,
p. 13; Eulner, M., J. Dreksler, 1986, p. 138).

Fig.. 33 (a, b)
If there is not a stool/ stand for the left foot it could be placed over the
right one. The curved part of the side board lies down on the left thigh and
the wide part of the corpus touches the right one / Fig. 32 /.
In practice is used to place guitar directly on the right thigh / mostly for
electric solid-body guitars/, although in this position hands have not total
freedom since the left hand in that case is used to hold up the guitar (Buhe, T.,
W. Iliew, 1988, p. 11; Nikow, N. 1987, p. 7; Burrows, T. 2002, p. 14).

Fig. 34

28

From the correct position of the left hand depends production of deep
and good quality sound. For this reason fingers should be lightly curved and
placed vertically to the strings at the ends of the finger positions with the
parallel to the fingerboard wrist without touching it (Pujol, E. 1983, p. 19, 25).

Fig. 35

Fig. 36

It is important that thumb touches lightly neck of the fingerboard / Fig. 35 /.

The thumb changes it's location when goes to the high finger positions / Fig.
36 /.

Fig. 37

29

When electric guitars are plaid with plectrum or with combined

technique /plectrum and fingers/, more flexibility in choosing position is
allowed. That is thanks to the large variety of models and their narrower and
longer fingerboard. In many cases teacher is compelled to make
compromises with the position not because of student's bodily defects but
due to the specific shape of the guitar.
Playing electric guitars is possible both in a sitting and in a standing
position (Fig. 37). The standing position requires the use of strap (Panayotov,
P. 1988 b, p. 9; Buhe, T., W. Iliew, 1988, p. 11-12).

Fig. 38 (a, b)
There are different concepts about the way of holding plectrum. A
convenient one is to hold it with the thumb and index finger. The fingers are
lightly curved toward the palm and the plectrum is put on the index finger /
Fig. 38 a / and is kept by the thumb / Fig. 38 b /. Certain genres and
performing styles may demand modification and rectification of the described
position (Panayotov, P. 1988 b, p. 10; Buhe, T., W. Iliew, 1988, p. 10, Burrows, T. 2002, p. 38).
Sometimes, for example when playing flageolets, the plectrum is held
between the middle finger and the thumb. Also, in the combined technique,
when fingerpicks are in use, the plectrum can be attached to the fingers /see
Fig. 30/ (Panayotov, P. 1988 b, p. 137).
With electric guitars the finger position of the left hand could vary more
freely. The standard /conservative/ fingering is not compulsory as in playing
classical guitar The thumb can even be used for counteraction to the side of
the fingerboard, when pulling off the strings / for example in Dirty glissando /
(Panayotov, P., G. Mirchewski, 1989 a, p. 33). Very often, especially in swinging, the

30

fingers are slightly bent in certain moments, like in the case of muting.
Regardless of the more flexibility allowed in the position for electric guitar,
the teacher is ought to demand, especially at the beginning, that the student
acquire the standard position and fingers movement. The most important and
compulsory element is to remove the muscles tension.
In conclusion, pedagogue should know how to select such position of
holding the guitar which corresponds to the individual capabilities of the
student, in order to achieve maximum easiness of the both hands
movements, according to the model and shape of the instrument. In other
words, the position is prerequisite for mastering the most rational motor
movements. It should not be treated as an end in itself.
Recommended supporting literature:
Pujol, E Practice-book for 6-string guitar. Moscow, 1983.
Panayotov, P. Practice-book for guitar: Sofia, 1988, 1993.
Panayotov, P. Practice-book for electrical guitar. Sofia, 1988.
Peter, U. Anfangsunterricht im Gitarrespiel Band I. II. Leipzig.
Pozsonyi, J. Jazz-Guitar: Budapest, 1968.
Buhe, T., W. Iliew Schule fr Plektrumgitarre 1. Leipzig, 1988.
Buhe, T., W. Iliew Schule fr Plektrumgitarre 2. Leipzig, 1989.
Burrows, T. Die grosse Weltbild Gitarrenschule. Augsburg, 2002.

31

TONE PRODUCTION WITH FINGERS AND PLECTRUM

When tone production is released by finger-technique, the strings are set

into vibration with or without nails.
The method without nails I Fig. 39 / is applied most often by children when
the nails have irregular shape and are very fragile. Prior to F. Sore this has
been the preferred method of finger-playing. The fingers touch the strings with
theirs fingertips. The sound produced in this way is soft and a little bit dull (Pujol,
E. 1983, p. 17; Eulner, M., J. Dreksler, 1986, p. 84-85).

Fig. 40 / /
The method with nails I Fig. 40 / has been applied for the first time by
D. Aguado, and has been later elaborated by Fr. Tarrega, Since then the
tone production with fingernails has established itself as the most practiced
method. The strings are touched with the tips of the nails. When sounding
itself the string is touched lightly also with the fingertip (Pujol, E. 1983, p. 19;
Panayotov, P. 1993, p. 39).

For more accuracy, exact rhythm, smooth movements and better

synchronisation, one should apply, always when it is possible, the method of
playing with alternating fingers (Pojol, E. 1983, p. 17; Panayotov, P. 1993, p. 39).
The thumb is placed on strings333 5 or 6 without pressure,
approximately in the middle of the sound hole, to serve as fulcrum
32

(Fig.41). Before stroke the index finger is in front of string 3 and after the
stroke it keeps staying on string 4 while the 2nd finger attacks with stroke
string 3. For making the stroke itself the fingers must be moved vigorously
with the slightest possible deviation from the strings all the time (Panayotov, P.
1993, p. 39).

Fig. 41

Moving the fingers of the right hand in that manner is not an easy matter
and the teacher should pay special attention to its mastering. At the beginning
it is recommended to use the thumb I p I for fulcrum (Fig. 41). The sound
itself can be produced with rest stroke or with free.
a) rest stroked apoyando after "stroke" the finger, no matter if thumb,
index finger or other one, rests on an adjacent string until preparation for the
new stroke starts / fig 42 /.
b) free stroke or non-apoyando (tirando) after "pluck" the plucking finger
bends slightly toward the palm without touching the other strings / fig. 43 /.

33

Fig. 42

Fig. 43

Fingers training are good to start with rest stroke since at the beginning
the fingers are stiff and have lack of dexterity. The rest stroke produces firm
contact with the strings and ensures better control (Panayotov, P. 1993 p. 13;
Peter, U. Bd. 1, p. 7).

The stroke should not be too powerful. The force should stem only from
the fingers which means that must be set in active motion from the joints
without participation of the hand and wrist. The shoulder and the hand above
and below the elbow must be without tension.
Plectrum technique includes two ways of tone production (Panayotov, P.
1988 b, p. 10, 11; Burrows, T. 2002, p. 38):

( down or Abschlag ) down-stroke with plectrum;

V ( up or Aufschlag ) up-stroke with plectrum.
At the beginning of training the teacher is recommended to demand
parallel movement of the plectrum to the strings.

Fig. 44
34

The main purpose of mastering precise stroke is to achieve steadiness

in the performance of alternating strokes while playing long note values and
rests. The exercises are better to begin on open strings.

Alternate picking with and V

/or vice versa/

Alternate picking all accents

with /or vice versa/

35

all

accents

The movements should be economical, without big blows and

plectrum should take the shortest way to the strings. Until the correct, easy
movements, free of muscles tension is mastered one should be careful not to
twist the wrist and not to "pull out" the strings when striking them with the
plectrum.
There are two manners of performing successive alternating strokes in
asymmetric measures or configurations (Panayotov, P. 1988 b, p. 12; Burrows, T.
2002, p. 41).

At the advanced level of mastering technical skills greater freedom of

movements is allowed. Plectrum sound can be produced with moving only
thumb and index finger /both holding the plectrum/ with more blows arising
from the elbow and etc. Specific techniques are applied for producing
particular effects in certain performance styles.
Recommended supporting literature:
Sore, F. Method for the Spanish Guitar. New York, 1977.
Aguado, D. Metodo de guitarra. 1925.
Panayotov, P. Practise-book for guitar: Sofia, 1988 a, 1993.
Panayotov, P. Practise-book for electric guitar: Sofia, 1988 b.
Buhe, T., W. Iliew Die Plektrumgitarre 1. Leipzig, 1988.
Buhe, T., W. Iliew Die Plektrumgitarre 2. Leipzig, 1989.

36

ORGANIZATION OF LESSON,
FORMATION OF INSTRUMENTAL HABITS AND
PERFORMING TECHNIQUE
Interpretation of music works requires performing technique, which is
a set of instrumental habits supporting expression. The instrumental habits
are fundamental for the adaptation and development of appropriate
performer's movements, which encompass different ways of tone production,
music texture elements and technical devices. At the same time, it is
important to work on psycho-physical adaptation of the student to the
instrument, as well as on formation of individual approach that will grow later
into individual performing style.
To achieve this level in education one should have had appropriately
organized work at lessons and at home.
Practice shows it is most convenient to carry out guitar instruction within
a system of individual lessons. They should be held neither too rarely, nor
too frequently. The student should have time for self-dependent work.
The aim of the teacher is to schedule the lessons in such a way (for
instance twice per week) that will enable him to transfer his knowledge and
experience and at the same time to follow and conduct the development of
his students. Students from their side will demonstrate their present progress
and will receive assignments for further work. In this way of work /in lessons
and at home/ students can develop their instrumental habits.
Despite the large variety of methods and approaches in guitar
instruction, there are some fundamental principles that should not be
ignored. The class lessons should help the student:
1. To demonstrate his achievement during his independent work at home
after giving him exact hints to achieve;
2.

To realize and correct his made mistakes /if such exist/;

2. To stimulate the ways in which he needs to proceed with home

exercises.
The teacher, after hearing what the student has achieved at home,
should correct made mistakes, summarize the results of that work and give
him new task that build on the current progress. To achieve positive effect
the teacher should present to the student his knowledge and experience in a
37

simple and comprehensible way. In the contrary it could have a negative

effect,
The question as to how the lessons are to be organized and what should the
volume consist of?
As to the content of the lessons, for beginners they should last about 20
30 min. Still, it is up to the teacher to estimate this according to the
individual capabilities and skills of children. Nevertheless, the time devoted to
practice scales, etudes and works must be determined by technical needs
and pointed aims.
During formation of instrumental habits the teacher should not "serve
everything on a plate" to the student. Sometimes some directions only are
sufficient to enable the student, when working independently, to find out his
mistakes, to correct them, to deal with wrong indicated fingering and to start
independent thinking. Here we come again across to the role of the motorthinking abilities. They themselves are one of the most significant factors for
development of technical speed and instrumental habits.
Summarizing all above the role of the teacher could be formulated as it
follows:
-

he has to demonstrate, on the basis of his pedagogue and

instrumental experience principle ways of interpretation;

-

he has to discuss with student the problems along the entire

performance;
-

he has to give to the student an assignment consisting in preparation of

an etude or instrumental art work;

-

he has to insist that exercises for mastery and technical proficiency

of the material being performed in exact tempo and with purposeful

repetitions.
During the lesson teacher must be able to improvise and react quickly
according to the situation. This will show his capabilities and teaching talent.
This largely depends on his knowledge, experience and level of music
culture. Besides that, the teacher needs exact valuation and methodology in
order to get student's development in music performing technique that
consists of student's agility, quickness of finger movements, thinking-reflector
38

reactions and his ability of art interpretation. That's why the appropriate
scheduling and teacher's ability to direct the instruction process has essential
importance in education.
During establishment of instrumental habits is recommended paying
attention to diversification of the technical and artistic aims. They could be
applied to the entire technical process of building music work, to improvisation
and etc. Still, control is obligatory in order to regulate tempo, rhythm,
dynamics and tone color.
Using individual capabilities of the student, the pedagogue should get the
final aim through applying suitable and efficient exercises. The shape of the
hands, the dexterity of fingers, the freedom of the wrists, the angle at which
fingers or plectrum touch the strings and level of the pressure have also an
impact.
To master the complicated technique of guitar playing student needs to
have strong will and discipline, work systematically and consistently and pay
attention to every detail. This is not so easy with mastering, especially if the
person is overemotional. On the other hand, if the student succeeds in
overcoming the initial obstacles, his own performance will be definitely
accompanied by feeling of satisfaction and pleasure. Here, the role of the
teacher relates primarily to the development of instrumental habits. Easiest
way to be achieved is through influence on character, view of life and
student's psychology.
Performance technique is in close collaboration with the memory and ear
and motor imagination and it depends primarily on fast thinking and
movements (Kurteva, M. 1985, p. 26). At the same time the sound quality is
connected with the performing technique. The coordination of these two
components gives the pattern and variety of tone coloration. Here appears
the teacher's ability to set the right direction for the student in mastering the
specific subtleties of tone production. This requires appropriate instrumental
habits and internal aptitude. The best way to obtain it is with purposeful, well
considered repetitions. Even difficult elements become automatized after
continued exercises.
In order to obtain good performing technique the guitarist has to master
39

natural and sparing movements where the muscles are free from tension
and the fingers, find" their places getting the shortest way. The teacher's
task is to help the guitarist to set free his hands and body from and avoid
superfluous

spectacular

movements

which

most

often

damage

the

performance quality. Parasitic movements and excessive strain are the main
reasons for clumsiness and lack of self-confidence. Certainly, in some cases
technical difficulties result from unfavorable shape of the hands or strain
and pain. The teacher should find out the reasons for difficulties and work on
their elimination.
The best way to build up performing technique is through playing scales,
technical exercises and selected etudes corresponding to the respective level
of education.

40

FINGER POSITIONS /FINGERING/

AND PROBLEMS WITH TONE PRODUCTION

Fingering is a pattern of finger positions, as well as their alternation

during playing. The word itself stems from the Latin word applico, which
means pressure.
Mastering of correct fingering should start at an early stage of
education along with the acquisition of the basic skills. For the player, it is
important to realize the positive results that follow from it. On the other
hand, the teacher should make clear and help the student to establish
necessary habits for right fingering, considering his individual endowments.
This process should follow the requirements of the followed pedagogic school
(Panayotov, P. 1991, p. 82, Burrows, T. 2002, p. 33).
An important role in this process plays the shape of hand fingers. The
way of "touching" the instrument with the left hand is also essential. A soft"
hand produces more even and deeper in timber sound. Performers with soft"
hands maintain their good form easily and their fingers are yielder. On the
contrary, a hard" hand requires much more care, it has more complications in
mastering different techniques and the tone in tone production dryer and
harsher.
There are some important factors that guitarist should consider when
settling fingering, such as his physical characteristics and the size of guitar
fingerboard, which both have an impact on the flexibility of the left hand
movements. The other elements, like correct placement of fingers on strings
(at the ends of the metal frets), maximum light touch, smooth shifts etc. are
next step in mastering in training process. One should bear in mind that
selection of fingering is strictly individual problem and it allows variations.
Role of the teacher is to assist the student in establishing right fingering
and then strictly to control correct placement and movements of the hands.
The left hand fingers must ,,find" their places without correction, without
strain. Particular attention should be paid to the dexterity of the left hand
fingers and their coordination with the right hand.
Recommended supporting literature:

41

Panayotov, P. Scales and technical exercises for guitar. Sofia, 1987.

Carlevaro, A. Serie Didactica. Buenos Aires, 1966.
Albert, H. Lehrgang fr knstlerisches Gitarrespiel. Berlin.
The problems with tone production arise most often from wrong
position and not appropriate fingering. Problems can be caused also by
worn frets, damaged strings, bad-quality adaptors or electric guitar amplifiers
(Panayotov, P. 1988 b, p. 15; Pujol, E. 1983, p. 15; Burrows, T, 2002, p. 40).
The problems related to tone production are various but can be
reduced to the following essential points: easiness of movements, finger
position/fingering, psychological balance, angle of touching the strings,
shifts.
To overcome the difficulties of the right hand (in playing with fingers),
after mastering the technique of alternating fingers (fingering succession),
one is recommended to start exercises for two-voice texture.
There are two ways for playing two-voice texture playing on adjacent
and on non-adjacent Strings (Panayotov, P. 1988, p, 55; Pujol, E. p. 61 - 66; Peter, U.
Band 1, p. 27 ).

It is good to start the exercises firstly with fingers on non-adjacent

strings. There are tree possibilities in practice:
1. The thumb plays with rest stroke, apoyando and the other fingers
with free stroke tirando . It is important that the stroke with the thumb I p I
and the pluck with index finger i, m or a to be done simultaneously. After the
stroke the thumb rests on the adjacent / inside / string until the preparation
for a new stroke begins. The pluck with i, m, a is directed to the palm.

2. The thumb plays with free stroke, tirando and the other fingers with
rest stroke apoyabdo.

42

3. The tone production of the two-voice texture is made with free stroke
tirando.

For mastering fast tempo playing of two-voice textures, one should

start exercising the motions with only one finger firstly, and then with
alternating fingers in different combinations, e.g. im; mi; ma; am; ia; ai.
When playing with fingers on adjacent strings the sound is produced in
the following ways:
1. Lower voice is played with the thumb / p /, and upper ones with
combination of i, m, a or with alternating fingers. The sound is drawn with
free stroke tirando. The teacher should watch out that fingers pass each
other fluently and wrist stays relaxed.

2. The sound is drawn with free stroke tirando through a combination of i,

m or a. The pluck is directed to the palm with as small as possible deviation
from the strings.

43

In the tone production with plectrum it is very important to master playing

on adjacent strings, before starting it on non-adjacent strings.
There are possible the following ways of tone production with plectrum
(Panajotov, P. 1988 b, p. 29; Buhe, T., W. Iliev, 1989, p. 117):
1. Up- and down strokes with plectrum on two strings / , V /.

2. Combined technique (see Stylistics p. 79-80), where the lower string is

set into vibration with a down stroke of the plectrum / / and the higher string
with a pluck with m or a (it is possible also with alternation).
Playing on non-adjacent strings is using the following methods of
tone production:
1. Both voices are played simultaneously only with strokes of the
plectrum. The strings that must sound are muted with the left hand fingers (as
an exception with the right hand too) see Ex. 22.

Two-voice texture playing on non-adjacent strings requires good

muting skills and the teacher should pay special attention to it.
2. Combined technique (Panajotov, P., G. Mirtschewski, 1989, p. 27-32) lower
string is played with strokes of the plectrum / /, and the higher one with
plucks from m, a and e.

44

Fig. 45 /a, b/
In three-voice or polyphonic texture performed with fingers the same
versions are applied as in two- voice playing on adjacent and non-adjacent
strings.

The refinement point in polyphonic playing with plectrum is muting.

Usually the string that should not vibrate is muted with the left-hand fingers.
Plectrum strokes can be performed in both directions.
One of particularities of muting, especially in playing chords, is the touch
/the exactness/ of strings pressure.
= vibrating tones

= touched tones

Decisive factor in tone production is the angle at which fingers or plectrum

touch the strings (Fig. 39, 40, 46).

Fig. 46 /a, b/

45

At the initial stage of educational process, one should not overdo with
these nuances. Only when sustained motion and performance habits are
acquired it is possible to use them for obtaining diverse timbre and stylistic
effects. Role of the teacher is to help the student in developing a sense for
the right touching of the strings. As smaller the angle between fingers and
strings is the softer is tone, and vice versa. The same is referred for playing
with plectrum. The most distinct and bright sound is produced with the
sharpest part of the plectrum when it is held perpendicularly to the strings.
Recommended supporting literature:
Just, F. Neues Gitarrebuch. Leipzig, 1983.
Ihde, M. Rock Guitar Styles. Washington,
Schreiber, U. Blues Country Soul. Leipzig, 1976,
BuheJ., W. Iliev Die Plektrumgitarre 2. Leipzig, 1989.
Problems with tone production could appear during change of the finger
positions (Panayotov, P. 1988, p. 62; Peter, U. p. 33). Main reasons for this are:
tension in hands, bad synchronization between both hands, and correction
of the left hand fingers before and after the shift.
Change of the finger position means shift from one fingering to another.
This change should happen imperceptibly for the listener. There are three
basic ways for achieving this:
1. Direct change the last playing finger slides up or down the string
without pressing it, until it reaches the next note in the new finger position.

2. Indirect change if the new finger position calls for other finger, then
that which played last moves to the new finger position and then the new one
presses. A slight overlap is needed for not interrupting the phrase / portare la
voce Spanish /.

46

3. Change with leap when using an open string.

All these three manners should be mastered, beginning with the direct
change.
In some cases, without having change in finger position, one can
"stretch" the used finger / most often the 4th of 1st / to a higher or lower fret.
Frequently made mistakes:
- excessive tension in the hands;
- abrupt pulling of the left hand during the shift;
- adjustment of the playing finger after the shift;
- not sustaining of the full note values, especially before the shift.
- In order to avoid these and other errors, one should practice in detail
all the three phases that ensure the physiological effect of the shift:
1. Drop the finger away from the string, preliminary mental singing of
the tone after the shift and mental imagination at which fret it is positioned at.
1. Sliding, reaching the tone, and pressing the string.
2. Producing the sound.
3. Recommended sup Oposrting literature:
Panayotov, P. Scales and technical exercises for guitar. S., 1987.
Buhe,T., W. Iliev Die Plektrumgitarre 1. Leipzig, 1988.

47

SCHEDULE OF PLAYING SESSIONS

An appropriate schedule of playing sessions is very important for
instrumentalist. It is directly connected with perfection and growing up of the
musician. It is well-known that in order to achieve a high performance level
in music one should work systematically and thoroughly. The question is
how to organize daily sessions in order to transform our activity in creative
one? This is not a question of the many hours exercises More important is to
perform the daily exercises with conscious consideration, not in a mechanical
way. This happens in the best way when the exercises become a pleasure,
not an obligation. What is more, for being good instrumentalist there should
not be rest he must always be in a good shape and with repertoire
perfection.
In order to facilitate sessions and make them as efficient as possible
one should consider some requirements, for example: such as putting sheet
music on a music-stand and using a foot-stool stand to keep up the precise
position of hand and body during the play. One may also use a metronome
but without overusing it. It is more important to develop an inner pulsation
sense but before it happens one should beat time (children can do it even
aloud).
A reliable practice for accurate work and execution of control is the use
of recordings (the most practical are audio tapes, CD-s and DVD-s). In order
to achieve desired result the guitarist should analyze and compare his
performance with the assistance of the teacher. Self-valuation and initiative
for trying out new effects, technical novelties and timbre colorations are also
necessary. It is not easy to establish a professional criterion. It could be
reached by continued listening, exercises, comparisons and inner sensation.
Having good appropriate organization of the working process
guarantees professional growth of the performer. Even if there is a strong
will, high results cannot be achieved without day-to-day exercises and
sessions. The young guitarist should adopt habits for systematic work. The
exercises should be distributed evenly and the technical load to increasing
gradually.

48

Theoretical knowledge is also very important for successful outcome.

This is responsibility of the teacher and the student must always aspire to
learn more for the sake of the final aim high level professionalism.
In regular playing sessions positive impact have organization of the
exercises, conscientious approach to the work, as well as home environment.
In order to gain high results the student should practice intensively at home,
simulating conditions similarly to the lesson or such similar to stage
performance. In the contrary young musician won't have necessary mentalreflex and psychological adjustment during performance.
In conclusion, for achieving high results it is important way of playing,
not duration of playing.
Interesting rules concerning playing schedule gives the famous Spanish
guitarist Emilio Pujol (Pujol, E. 1983, p. 21):
1. You need to work regularly.
2. It is better to exercise 1 hour daily than 7 hours once per week.
3. All technical difficulties are possible to overcome, but success
depends on the methodology and used tools.
4. Unnecessary efforts and movements must be avoided.
5. You need to follow directions of the teacher or of the practice books
authors.
6. Always listen to your own playing in order to be able to correct on
time your own mistakes and to correct your performance.
7. Exercise carefully from the very beginning in order not to establish
wrong habits that are extremely difficult to remove later, some times even
impossible.
In general, mastering of technical skills does not bend down only to the
quantity of work. It is more important to make methodical exercises with
awareness and a sense of direction without overdoing them.
The daily playing schedule of the musician is good to be combined
with physical exercises. This helps to maintain physical health, high spirits
and strong concentration.
The daily playing sessions program should start with physical exercises.

49

This is an organized set of exercises for warming up the joints and

entering working status with the instrument. The loading should increase
gradually, so the body could adapt itself to activity without force. All this is
achieved step by step by alternating exercises with regular breaks. The
teacher must explain to his student how to balance the number and quality of
the warming-up regime of exercises without ignoring or overdoing it.
It is recommended to start the warm-up playing with exercises for the left
hand only /see Scales and technical exercises for guitar No 1, 2, 3, 4, 5 P.
Panayotov/, and to include the right hand later on. Warm-up exercises for
the both hands coordination are also compulsory. All this should take up to 45 per day, followed by playing scales in triads, in thirds, sixths, octaves and
tenths. They can be varied with rhythmic variations, different timbre and
dynamic colorations (Panayotov, P. 1987, p. 3-9; Carlevaro, A. No 2 Talcahuno).
The exercises must include all fingers of both hands by using scales,
stylistic models and riff standards. Very useful are the exercises in different
articulations staccato, pizzicato, tremolo, vibrato and etc.
Next comes the work on etudes and instrumental works.
Recommended supporting literature for warming-up:
Panayotov, P. Scales and technical exercises for guitar. S., 1987.
Visser, D. Tarrega etcetera. Hilversum, 1964.
Carlevaro, A. Serie Didactica No 2. Talcahuno.
Buhe, T. Rhythmisch-stilistische Studien fr Gitarre. Leipzig, 1970.
Kliem, J. Rhythmisch-stilistische Studien fr Gitarre. Bad Schussenried,
1980.

50

WORKING WITH SCALES AND TECHNICAL EXERCISES

Scales must be practiced every day. They are useful for

mastering particular technical skills and timbre colorations. Although
scales offer excellent possibilities for technical perfection, some teachers
ignore them, while others apply them incorrectly (Panayotov, P. 1987, p. 9; Bartos,
A., p. 103; Peter, U. Bd. 1, p. 47).

Applied properly, scales are good foundation for correct intonation,

change of finger positions, coordination between left and right hand.
Apart from this, scales can be applied for improving legato, staccato,
vibrato and pizzicato.
There are two common methods of playing scales:
1. Using open strings.
2. Without using open strings.
At the initial stage of instruction, it is better to use open strings since this
allows better control and much more ease in the change of finger positions.
In this case, specific (characteristic) fingering is applied.

Another method of performing scales without open strings - is applied

mainly with electric guitars for sound-related reasons, for easier dealing with
the fingerboard and for obtaining bigger stability of the left hand in the high
finger positions.

Scales may best be exercised with triads and arpeggios. At the same
time, in order to master fingerboard, student should perform them with
different fingerings and from different positions (Panayotov, P. 1987, p. 9; Bartos, A.,
p. 103; Peter, U. Band 1, p. 47; Burrows, T. 2002, S. 60-63).

51

This does not imply that the standard fingerings can be ignored. They
have been established in practice. Here are some of them:

As useful exercises scales could be played in thirds, sixths, octaves and

tenths. At an advanced level of technical proficiency one can add to the
already listed methods reverse scales, scales consisting of triads and

52

seventh chords.
One can also play scale-similar models with their fingerings /see Precise-book
for electric guitar P. Panayotov/.
For better technical improvement scales can be played in different
versions like:

One of the main tasks of the teacher is to require performing of the scales to
be in slow tempo at the beginning. After having formed some technical habits and
improving his skills the student should try to perform the scales perfectly in faster
tempo. It is useful if scales are played in different dynamics and in various timbres.
1. in piano I p I;
2. in forte / f /;
3. with crescendo and decrescendo

.' ;

4. in a middle sound register Sul tasto, ordinario

5. with soft sound timbre Dolce

6. with harsh timbre Sul ponticello, metallic

etc.
Technical exercises are another useful means for professional improvement
and mastering, but they should be used with care, not being overused. If the
slightest symptoms of fatigue and pain in joints appear, one should stop playing
them in order to avoid bad consequences (Panayotov, P., p. 8, 53-57; Visser, D. Hilversum, 1964).
Usually the biggest difficulties are faced when forming the position of the left
hand where the fingers must be "spread out" and get used to placing them correctly
(to the metal frets). It is preferable to do these exercises without participation of the
right hand. It is also very important to control /conduct/ movements mentally.

53

If the student faces big problems, he can start these exercises (with the
same finger position) at a higher position / e.g. V / and gradually increase the
pressure while moving down to finger position I where the distances
between the frets are the widest.
Useful are also exercises including holding up of the fingers. This helps in
achieving more flexibility and stability of movements.

One of the most useful exercises for the left hand is playing legato / see
legato /. It must be mastered in both ascending and descending directions.
The teacher should pay attention to the attack, the retention of the
fingers and the equalization of their pressure.
Everyday attention is needed in order to get coordination and
synchronization between the both hands.

Harmonic phrases are also very effective. By means of them one can try
to make smooth shifts between finger positions, to test the precise intonation
and etc.
54

Ultimately, it is up to the teacher what kind of technical exercises to

include in the instruction process. This depends on the technical skills of
the student and on the final purpose.
Recommended as supporting material:
Panayotov, P. Scales and technical exercises for guitar. S., 1987.
Vestitzkij, P. Self-instructor in six-string guitar. M., 1989.
Albert, H. Lehrgang fr kunstlerisches Gitarrespiel. Berlin-Lichterfelde.
Burrows, T. Die grosse Weltbild Gitarrenschule. Augsburg, 2002.

55

ARTICULATION AND PERFORMING MODES

Articulations in guitar playing are most diverse. As already is mentioned
before, a major one is legato.
Legato / legato it. / is rather specific in guitar playing. It is difficult to
master it, but is very useful for the technique of the left hand. It helps in
obtaining force and relative independency of the fingers. F. Sor considers
legato as the best exercise for the fingers of the left hand.
There are two ways of playing legato ascending and descending
(Just, Fr. Bd. 1, 1983, p. 49; Pujol, E. 1983, p. 76-78; Panayotov, P. 1993, p. 72; Burrows, T.
2002, S. 80-86).

When passing from one tone to another upwards, the first one is played
with the right hand, while the second and following ones are drawn with
forceful stroke with respective fingers of the left hand, without participation of
the right one. An important condition for performing nice and clear legato is
that fingers fall vigorously, without unnecessary swing, precisely to the metal
bars and without adjustment of the playing finger on the guitar strings.

In downward movement on one string the first tone is produced with the
right hand and the others are plucked with the corresponding fingers of the
left hand. The target tone must be pressed in advance. From great
importance is that plucking finger of the left hand should remain ,,fixed" for a
moment after the pluck of the adjacent string.

Very often the ascending and descending legato are combined.

In playing down- or upward legato on two adjacent strings the first note
is played with the right hand, and the lower one, on the adjacent string, is
played with stroke of the respective finger of the left hand. It is decisive to
let the left hand finger fall vigorously, without adjustment to the metal bar.
56

The performance of legato on two adjacent strings requires force and

stability of the hands, correct fingering and free movements in the shifts.

Frequently made mistakes:

- too strong attack with the left hand fingers;
- adjustments after the fall of the fingers on the strings;
- immediate raising of the playing finger.
- The following exercises are recommended:
1. Slow playing of scales and modes in legato in different versions,
up- and downwards.
2. Technical exercises for mastering the retention of the left hand fingers.
3. Playing of short passages from studies or pieces only with left hand.
Recommended supporting literature:
Quadt, A. Liederund Tame aus alien Tabulaturen. Leipzig, 1985. SchwarzReiflingen, E. Das Bach-Buch fr Gitarre. Hamburg.
Powrozniak, J. Fr. Tarrega utwory wybrane. Krakow.
Burrows, T. Die grosse Weltbild der Gitarrenschule. Augsburg, 2002.
Barre Ibarree fr./ is a way of playing, in which one of the left hand
fingers presses more than one string. There are two types exist big and
small barre (Panayotov, P. 1993, p. 75; Albert, H., p. 3; Burrows, T. 2002, S. 72-78).
The exercises must start with small barre. The student should obtain a
sense for the pressure and the freedom in bending fingers 1, 2, 3 and 4 of
the left hand so that he can press two or more strings without effort. The finger
is placed parallel to the metal bars and no twisting of the left hand should be
allowed.
57

Fig. 47
Frequently made mistakes are too strong pressure, hand twist, and
difficulty in bending fingers. At the beginning exercises should be practiced
several times per day for 23 minutes each. This will serve as preparation
for mastering big barre.
In big barre the 1st finger of the left hand presses with its inner pa rt
s t rin gs 1 t o 6.

Fig. 48

The first finger must rest parallel to the metal bars, but if the index finger
curves slightly (without bending) to the right (viewed from the side of the
player) is not wrong.
58

Frequently made mistakes:

- too much tension in the left hand wrist;
- too strong pressure with the thumb of the left hand;
- the strings fall into the curves of the fingers phalanxes and low- quality
sound is produced.
Recommended supporting exercises:
Diabelli, A. 7 Preldium fr Gitarra. Budapest, 1981.
Giuliani, A. Prelude op 46.
Hinsch, G. K.H. Schulz Folk Guitar: Leipzig, 1981.
Glissando /glissando it./ is slow passing from one tone to another which
results in expressive slide. It can be performed upwards and downwards
(Panayotov, P. 1993, S. 89; Bartos, A.. 1964, S. 93; Westizki, P. 1989, S. 42; Burrows, T. 2002, S.
88).

The right hand plays only the first note, and the final note sounds by itself (or
after a stroke), at the stop of the left-hand motion /the slide/. The finger
pressure should not be released so that the sounding does not cease
prematurely. Glissando can also be achieved in performing two-part or
polyphonic melodies.
Frequently made mistakes:
- the pressure of the fingers is released too soon;
- tension in the left hand;
- uneven slide during the change of finger positions.
In order to obtain expressive glissando, the movement of the hand
during the shift must be free and when the hand reaches the desired fret the
59

finger must stop for a moment, without adjustments. Vibrato may also be
applied /see p. 59 "Vibrato"/.
Recommended supporting literature for glissando: VillaLobos, H. Etudes 4, 9, 10, 11.
Villa-Lobos, H. Prelude 1.
Schreiber, U. Soungs for Guitar. Leipzig, 1987.
Staccato /staccato it./ is a manner of playing of notes sounded in a
detached and distinctly separate manner (Panayotov, P. 1993, p. 90, Burrows, T. 2002,
p. 53).

Staccato is performed by steady release of the left hand fingers pressure

after playing the note, which stops string motion.
Short rest between the notes results but the note durations should not
be affected. Fingers must not be taken away from the strings and the
pressure must be released easy and rhythmically. What is needed also is a
good muting technique.
Frequent made mistakes:
- the fingers are raised too high over the strings;
- uneven pulsation of the left hand;
- excessive strain in the wrist and especially in the left-hand thumb.
Staccato is characteristic to the style peculiarities in some genres. It
should be practiced with scales, etudes and works in a very slow tempo while
sense of pulsation and rhythm is developed.
Pizzicato /pizzicato it./ is performed in two ways:
1. The soft part of the right hand palm is placed on the strings where
the threshold of the string-saddle is. The strings should be mute with light
touch and the tone stops immediately after resonating. Distortion of the
sound is not allowed during the pressure. Tones are produced with thumb I p i
60

and index finger / i / (Bartos, A. 1964, p. 101; Panayotov, P. 1993, p. 90). In electric
guitars the sound can be produced also with plectrum.

Fig. 49 / a, b /
The left hand plays in the usual way.
2. The left hand fingers fall precisely on the metal frets but do not press
the strings too densely. In this way the sound dies down immediately after it
has been produced. This articulation requires many exercises, until the player
gets sensation for the right pressure of the fingers.
The right hand sounds the strings in the usual way.
Some models of electric guitars have dampers for pizzicato.

Possible mistakes made in both performing manners:

- When strings are pressed too strongly with the right hand this causes
unwanted change in tones pitch;
- muting is uneven and tones have different intensity;
- in case of incorrect right-hand touch some strings sound normally while
others sound dull; the same effect results when the left hand pressure on
the metal frets is uneven.
Recommended supporting literature for pizzicato and staccato:
Technical exercises and scales with pizzicato and staccato.
61

Bartos A. Skola hryna kitaru. Praha, 1964.

Ratz, M. Klassiker der Gitarre. Leipzig, 1978.
Paul, Les Song folio. New York, 1951.
Tenuto /tenuto Italian/ is typical with unaccented sustained note
value, without accent. End of each note is the beginning of the next one
(Panayotov, P. 1988, p. 143). It is achieved through retaining fingers and prolonging
of the sound (as note value allows it).

Tenuto and staccato are basic articulations in swing style.

Ornaments / Melisms / in guitar playing are very attractive. They are
mainly related to legato and could be usually met in many of the 19th century
works (Panayotov, P. 1988, p. 103; Bartos, A., p. 95; Carcassi, M. 1965, p. 46).
Acciaccatura (Short Vorschlag / crushed note) is a quick grace-note
performed before the principal one and taking a small part of its full timevalue.

In guitar playing, if another, lower note is played together with the

ornamented one, this lower one and Acciaccatura must be performed
simultaneously followed by the ornamented one. In same way is the
performance of Acciaccatura before a chord.

62

Long Appoggiatura (Vorschlag) is a slow grace-note that leans on the

principal one taking half of its value when it is simple and 2/3rds when its
value is dotted.
Long Appoggiatura is typical mainly for baroque music.

Double Acciaccatura or Slide (Schleifer German) are ornaments

consisting of two or more short grace-notes performed before the principal
one taking from its value or from the value of the preceding note, depending
on style of the composer.

Terminated Trill (Nachschlag German) is an ornament which consists

of one or more short tones performed after the main note and depriving it of its
time-value.

Trill is a rapid alternation of an indicated tone with the one a tone or a

semitone above with duration corresponding to that of the indicated tone.

63

Praltrill is the ornament typical with rapid one-time alternation of the

main tone with the tone above.

Double praltriller is a two-time alternation with the tone step above

and ends with the main note.
Mordent is very rapid one-time alternation of the main note with a
subsidiary note a step below. The duration of the mordent takes up from the
value of the main note.

Turn (Grupetto) is an ornament consisting of three or four short notes

performed before or instead of the principal note and at the expense of its
value. Grupetto consisting of three notes begins with the next higher note.

Grupetto consisting of 4 notes begins with the principal note.

64

Combined ornaments also exist They consist of 2 or 3 simple

successive ornaments. They are performed at the expense of the main note.

Correct performance of ornaments requires good command of legato

(ascending and descending). Practice of the different articulations should
begin in slow tempo so that one can grasp the essence and master the
refinements in the performance.
At the advanced level student should master ornaments using composers
works working out difficult passages with ornaments separately.
Frequent mistakes in the performance of ornaments:
- lack of rhythm inside the ornaments;
- incorrect use of the legato /ascending and descending/;
- the left hand fingers are not retained long enough (especially in
Vorschlag and Nachschlag).
Recommended literature:
Quadt, A. Gitarrenmusik des 16. -18. Jahrhunderts 2, Leipzig, 1972.
Quadt, A. Lautenmusik aus der Renaissance 2. Leipzig.
Schwarz, E. Das Bach-Buch. Hamburg.
Flageolet Tones (Harmonics) /flagioletto It./ tones obtained when
the aliquot sections of the strings are barely touched.
In guitar playing there are in use both types of flageolet tones-real
natural and artificial (Panayotov, P. 1993, p. 114; Pujol, E. 1983, p. 81; Carcassi, M. 1965, p.

65

90-91):

1. Natural flageolet tones exist on:

XII position /fret/ perfect octave on open string;
IX

"

"

VII

"

" perfect fifth on octave;

"

" perfect double octave on open string;

IV

"

"

double octave on major third;

double octave on major third.

Natural flageolet tones are performed by barely touching string on the

fret with a left-hand finger (the soft part, most often of the third finger) and
simultaneously set the string into motion with the right hand / with finger or
plectrum /. While drawing the sound, the left hand fingers raise vigorously
and flageolet appears. The flageolet tone should be ,,pulled" up. When
several flageolet tones must be performed on a single finger position, the
way is the same as in performing a single flageolet, the only difference is that
the left-hand fingertip touches more than one string.
The natural flageolet tones on finger positions II and III are very
sensitive and for this reason very rarely used.
2. Artificial flageolet tones can be performed from each fret (position).
Left-hand fingers press the strings as if producing usual sound. In the place
of the flageolet tone we touch the string lightly with the soft part of the righthand index finger / i / and we pluck with the thumb / p /, the middle finger / m
I or with the ring-finger / a /. At the moment of the pluck we raise the right
hand index finger / i / vigorously to obtain flageolet tone.

66

Fig. 50
When playing with plectrum, it must be hold between the ring finger and
the thumb while the index finger touches lightly the string with the tip, like
finger-playing / see Fig.50 /.
The difficulties in performing artificial flageolet tones consist in the fact
that the vibrating knots /aliquot sections/ must be formed simultaneously and
in coordination with the right-hand attack and the left-hand touch. Even slight
distortion of the coordination interrupts vibration and lowers the quality of the
flageolet tones. When performing flageolet tones fingers must be raised
vigorously from the strings for obtaining high-quality sounding.
Possible mistakes in performing flageolet tones:
- finger performing the flageolet retains too long on the string;
- lack of coordination between right and left hand;
- strings are of low quality (damaged) and do not sound well.
Recommended supporting note /music/ material:
Carcassi, M. A study of natural flageolet's I G dur /;
Tarega, Fr. Mazurka I a moll /.
Tremolo /tremolo It./ rapid reiteration of one, two or more tones; Shake.
(Panayotov, P. 1993, p. 116; Panayotov, P. 1988 b, p. 137).

In fingers playing it is performed through rapid and steady alternation of

the right-hand fingers on a single note. The performance of tremolo requires
fine synchronization of the fingers. Non of the fingers should be allowed to
move slower of faster. It is also important that the fingers pass the shortest
distance without making excessive blows. Special attention should be paid to
the third finger since usually it is the most inflexible. At the beginning it is best
to practice tremolo on an inner string /e.g. on string (2).
67

In playing with plectrum tremolo is produced through rapid alternation

between strokes / V / with the right hand in both directions. Only the wrist
is in active motion and should not be twisted. It is important to move hand
parallel to the strings with the smallest possible deviation of the plectrum from
the strings. To obtain even and clear tremolo it should not be muscles strain or
unnecessary blows with the right hand.

68

The described way can be applied in performing tremolo on all strings

simultaneously, or on some of them.
Recommended supporting literature:
Gomez, V. Romance de Amor;
Vsnas, J. Sen;
Tarrega, Fr. Recuerdos de la Alhambra.
Rasguedo /rasguedos Spanish/ manner of playing in which the
right hand fingers strike the strings with their outer side (Panayotov, P. 1993, p. 122;
Mairans, J. 1968; Burrows, T. 2002, p. 142-145).

There are different forms in use:

1. Standard rasguedo obtained through up- and downward strumming on
one or more strings with one, two or three fingers.
In this manner of playing strokes should be perfect in rhythm.

Exercises should be performed twitch single fingers i, m, a, as well as

with combinations of fingers im, ma, ima, attacking the strings simultaneously.
2. Broken up rasguedo, performed with alternation of fingers / i m a I,
strumming only in one direction, with the outer side of the finger nails.
3. Tremolo rasguedo, performed with up- and downward strumming
with alternating fingers.
There are also different combinations with the thumb /see Panayotov, P.
Practice-book for guitar p. 123-124/.
Good mastery of rasguedo is achieved through practicing it firstly in slow
tempo starting with single rasguedo, then with broken up rasguedo and
finally with tremolo rasguedo.
69

Frequently made mistakes in playing rasguedo:

- stiffness in the right hand which hampers its free movement;
- bad coordination between both hands;
- lack of rhythm caused by clumsiness of some of the fingers or by
hitting the strings too hard.
Recommended supporting literature:
Mairants, J. The Flamenco Guitar London, 1968.
Schwarz-Reiflingen, E. La Guitarra espahola. Hamburg, 1955.
Panayotov, P. Practise-book for guitar, Sofia, 1988, 1993.
Burrows, T. Die grosse Weltbild Gitarrenschule. Augsburg, 2002.
70

ARTICULATION, PHRASING, COMBINED TECHNIQUE

An important element in music performance and guitar playing, especially

in classical guitar, is articulation (Latin articulation = undoing/ breaking
up). This is the way, used for performing connected or detached successive
notes, as well as their nuances (Hadjiev, P. 1983, p. 164 ). It is related to the
different types of articulations. According to Ziegenrecker these are
various possibilities for joining notes one to another (Ziegenrcker, W. 1977, p.
149).

The articulation contributes much to the enrichment and variation of the

tone-quality asa means of expression and for phrasing in art works.

Technical methods are different for every musical instrument. Some authors
consider articulation as a variety of phrasing but the terms are not
synonymous. Phrasing points out emphasizing of phrases, which is a
distinctive feature of the good interpretation.
Articulation can be divided into two main types:
Rhythmically determined by composer;
1. Free, up to the performer's decision.
One of the basic tasks of teacher at the beginning level of instruction is
formation of articulation habits. Muting technique should be mastered
gradually, after an initial period of stabilizing the position and attaining
steady movements of the hands. The easiest way for muting is to
reduce the pressure of the left hand on the strings and thus to stop
their vibration When an adjacent string should be muted, student
bends to one side the next finger to obtain light touche with the muted
string. Muting with right hand offers also wide possibilities. It is performed with the soft part of the palm or with one of the fingers.
At the beginning, it is advisable to give to the student exercises for
playing with succession of notes- first without and later with muting:
a) playing with retaining of the fingers (without muting);

71

b) playing with releasing the fingers /without removing them off the
strings/ after every performed tone. Strings are muted with the left hand after
performing full note values.

Of course, solo examples could be varied with duets /studentteacher/with reversing voices in the course of session.

In some cases, when the coordination between left and right hand is
not good, student should firstly practice different rhythmic figures only with the
right hand:
a) muting with the left hand only*

b) muting with the right hand**

When making the student familiar with the phrasing sign / ' / it should
be demonstrated how it divides the melodic line. In this regard different
examples could be given from vocal practice, from playing of wind
instruments and etc.

______________
* The strings are muted with the left hand, after sustaining the note values
** ___ muting

72

When playing and muting with both hands the technique of muting get
more complicated. It is good to start muting on "closed" string (string that is
pressed with the finger) and then to continue on open string.
The choice which hand must be used in muting is up to the performer,
although usually "closed" strings are muted with left-hand. For the "open"
strings, the decisive factor is which hand has easier functions at the moment.
It is important not to break the melodic line and to keep the movements
smooth and easy. Of course, in more difficult performing elements (e.g.
descending legato on open string) compromises with the right fingering are
allowed. In such case, playing finger on adjacent string is slightly bent
towards vibrating open string in order to mute it. At the beginners level of
training student should not practice these muting methods excessively, in
order not to distort position.

Pedagogue should teach student how and when to retain the left hand
fingers /in tenutol and how to release pressure in order to stop vibration /in
staccato/.
When performing staccato open strings are in the foreground. When
notation allows, it is better to avoid the open strings, because this makes
easier to equalization of the note values. Of course, this happens at the
expense of bigger sonority obtained by using the open strings.

73

In muting, the left hand must only stop the vibration of the strings evenly
and very rhythmically, without releasing of them. If this is impossible or
uncomfortable, muting can be performed with the right hand. Sometimes
muting is combined between the both hands.
When the texture is more complicated, e.g. two-voice textures or
polyphonic one, student is recommended at the beginner's level to start
practice firstly with two-voice texture playing on non-adjacent strings (when
playing with fingers), and later to continue on adjacent strings. In playing
with plectrum is the opposite: firstly is practice on adjacent and then on
non-adjacent strings.

Except for the cases when bass-notes should be left to vibrate, for
obtaining greater harmonic density, performer should use the muting
technique for segmentation of the melodic line. Difficult, but decisive is the
muting of the open strings In this case, most often the thumb is bent to
one side to mute the adjacent string. Of course, this kind of muting can be
performed with the other fingers of the right and the left hand as well. More
difficult is muting of an external string (a string laying in the opposite
direction of the stroke). In such cases, the muting can be performed with
both hands but it is better when using the right; producing sound with rest
stroke.
Still, at the beginner's level of training one should use melodies with
simplified texture. It is important for the performer to "become aware" of the
melodic structure and to build it up without sound layering, except for the
cases when is necessary.
Experience proves that the guitar-teacher must start work on articulation
regardless of the difficulties that encounter beginners. The articulation
techniques must be acquired with awareness and at the same time must be
ear controlled In this way performer can search various artistic effects. It
should be emphasized that the most important condition for attaining

74

perfection is the appropriate mental-reflex coordination between the left and

the right hand.
Combined technique is combination of finger's and plectrum's
techniques, which are complementary to each other. All performance
methods and techniques are applied to tone production in the combined
technique, with some additional, specific elements.
In order not to repeat already explained things, in this section we are
going only to indicate the differences and to provide the additional
information related to the combined technique. It is good if beginner starts
with mastering finger technique firstly, then plectrum technique and then
move on to the combined technique. In the combined technique can be also
used the little finger of the right hand / e / (Panayotov, P. 1988, p. 41, Panayotov, P., G.
Mirchevski, 1989, p. 41).

Beside the common types of plectrums, the combined technique calls

increasingly for the use of plastic or metal fingerpicks /Fig. 30/. They allow
better right hand movements. In other words, here are combined the thick,
heavy plectrum-drawn sound and bigger dexterity of the fingers.
Very important is mastering of the picking-technique. The good
coordination between picks of the plectrum and the finger strokes is also
important. Both ways of producing sound with plectrum are used
(downwards , and upwards V), as well as rest stroke or free stroke
/with fingers/. The choice is up to the performers references and character of
the performance. For good quality of sound it is important at what angle the
fingerpick or the fingers touch /pick/ the strings See Fig. 46 (Panayotov, P., G.
Mirchevski, 1989, p. 5).

The combined technique is applied in jazz, popular and dance music,

pop and rock music, and particularly in country music, where greater
technical skills and very good coordination between the hands are required.
In the combined technique, beside Dirty Glissando, are used additional
ways of raising the tone, such as pressing the string/s/ behind
the lower and upper bridges of the electric guitar (Ihde, M., p. 7-8).
The pressure can be performed with any finger of the left hand but
most often is used the middle finger / m I, An important condition for

75

achieving these effects is that strings are soft /thin/ and to have enough
length in sections behind the lower and upper bridges.
1. Pressure behind the lower bridge:

Fig. 51
In electric guitars, the strings can be stretched also with vibrator (if such
exists).
When the electric guitar has device for fine-tuning of the lower and
upper bridges, raising the strings by pressing them in the described way is
impossible.
2. Pressure behind the upper bridge:

Fig. 52
Another interesting method of attractive performance is hammering right
hand hammer on (Ihde, M., p. 10). This performance technique is a variety of
ascending legato /with pick/ the hammering /the hitting/ is performed with a

76

right hand finger. For better stability and more preciseness the middle finger
Iml may be used.
Hammering on string should be jerky and after it finger should be hold for
a moment to the fingerboard.
Hammering can be performed with fingernail or plectrum (though not with
its sharp point).
The combined technique can be applied also in funk style. Here, a
fingerpick may be used, but no plectrum. This style is characteristic mostly
for bass-guitar but can be applied successfully to the /finger-played/ electric
guitar with thicker strings. The best sonority is obtained on strings 6, 5 and 4
(Ihde, M., p. 55).
One of the performing ways is quickly pulling-off the string with the
index finger / i /, catching it and slapping it with the outer side of the thumb
/p/.
With electric guitars, more effective technique is plucking of the string
/cracking/ on the fingerboard. Usually it is performed with the index finger / i /
which plucks the string like a hook and snaps it quickly on the fingerboard.
This method allows higher performance speed.
In some cases the thumb I p / can help with plucking, but in most
cases it must be left freely to be able to strike the other strings.

Fig. 53

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Funk playing with right-hand can be combined with left-hand slapping

against the strings. In this way are created very interesting figures.

Fig. 54

While mastering the techniques with fingers, plectrum and combined,

young guitarist should emphasize the interpretation in different styles. Of
course, the performer can devote himself to one single music genre
/classical, dance, jazz/ but it is better if the pedagogue is familiar with
teaching details of various styles and performance techniques.

78

TIMBRE, STYLISTICS

In guitar playing the sound nuances are related to the way of producing
sound - with or without fingernails, with rest stroke (apoyando) or free stroke
(tirando).
Rest stroke apoyando produces a thick and heavy tone, whereas
free stroke tirando - a soft, one. It is very important where /on which place/
the right-hand fingers strike or pluck (Panayotov, P. 1988, p. 127; Peter, U. p. 18):
a) The tone obtained before the sound hole /on the fingerboard/ is very
soft/mellow;
b) The sounding over the sound hole is "normal";
c)

The tone obtained with free stroke behind the sound hole, near the

string saddle, is sharp and that obtained with rest stroke is harsh.
The same effect is produced with plectrum, although, in contrast to the
acoustic /classical/ guitar playing, the sound nuances in electric guitar are
achieved thanks to the combination of adapters, It is also important from
which point the vibrations of the strings start to diminish thanks to the
adaptors. If the adapter is placed close to the lower bridge the tone
obtained is clear, the farther up on the fingerboard the adapter is installed,
the softer the tone becomes. Of course, a high-quality tone is obtained only
through high-quality adapters and amplifiers.
In practice there are in use numerous sound effects for prolongation of the
tone Sustain, the tone modification Distortion, fuzz, overdrive, phaser,
flanger, wow-wow, for making an octave Oktave divider, for holding the
tone Delay, etc. These effects should not be overused, rather they should
be applied for putting more expression into the performance and varying the
timbre according to the character and style of music.
Role of pedagogue is to help student to develop necessary technical
skills for obtaining various timbre colorations and getting right criterion for use
of appropriate electronic equipment.
Fundamental element of the timbre coloration is vibrato. Some
performers obtain it naturally, with growing technical mastery, while others
need special training. In the last case the pedagogue must decide when to
79

start with the exercises. Of course, it depends on individual abilities of the

student (Panayotov, P. 1993, p. 89; Panayotov, P. 1988 b, p. 98).
Guitar vibrato should be performed in the following way:
1 .Finger pressing the string jiggles with the front-elbow part of the hand,
which is parallel to the fingerboard. In this position, the thumb is removed off
the fingerboard neck. Vibrato can be performed with all the fingers, with the
pressure on the strings resulting only from the weight of the hand itself,
without additional tension and power in muscles.
2. Vibrato is achieved only through bending the fretting finger across
the fingerboard and moving only the wrist of the left hand, without
participation of the front-elbow part of it. In this case, the thumb touches
lightly the neck of the fingerboard and it's bending is parallel with the
fingerboard.
With the second manner the vibrato obtained is more expressive. It is
most convenient if student starts to master and improve this technique by
playing long note values. It is advisable to practice with all fingers of the left
hand starting with slow extended movements and then moving on to faster
ones.
In the vibrato exercises, pedagogue must demand the following things:
- the left hand should be free from tension;
- the shoulders should be totally relaxed;
- the elbow should remain in its natural lowest position;
- the bending should be performed only with wrist and playing finger.
When the guitar has metal strings, vibrato should be performed with
repeatedly, rapid pluck and release of the string aside quickly, without
loosening the fingers pressure from the strings /see Fig. 55/.
Some models of electric guitars have a special device called vibrator.
One of the essential things in guitar interpretation is stylistics
(Ziegenrcker, W. 1977, S. 150). Student should know the basics of articulation and
of be aware of the differences between the individual styles. This is
compulsory, considering that the traditional music notation does not include
complete marks for the specific stylistic elements. Nevertheless, there are
some symbols already established in practice (Panayotov, P., p. 143).

80

 sustained performance of the full note values, without accent

(tenuto).

short performance of the note values, without accent (staccato).

Two fundamental types of interpretation have been established in
contemporary popular music, despite their individual specific. They are
indicated as "Beat" and "Swing".
In the Beat style* the performance of a eight note /quaver/ or dotted eight
/quaver/ with sixteenth note /semiquaver/ corresponds to the notation.

Typical for the Swing interpretation** is the feeling of division on a triplet

basis in a sequence of eight notes /quavers/ or dotted eight notes /quavers/
and sixteenths /semiquavers/.

The same is valid for syncopations and different types of connections

between eight and quarter /crotchet/ notes. In beat and swing sixteenth notes
/semiquavers/ do not change.

* The metrum is symmetric, with underlined accented relationship between particular

beats in a measure (Wicke, P., W. Ziegenriicker, Rock Pop Jazz Folk. Leipzig, 1985, p. 47).
** Specific pattern of metric pulsation, based on constant departures from the main
rhythm. A feeling of inner energy of the performance is created due to the rhythmic
"conflicts", especially around the strong beats in the measure, a feeling of specific state of
"unstable balance" etc., a "swinging effect" (Owkly, D. The develish music. Sofia, 1987, p.
194).

81

Role of pedagogue is to show and explain to the student that

convincing stylistic interpretation builds on the accurate performance of short
and long note values. An important role for this plays the muting technique,
especially for short note values. This is best achieved through release of
the pressure of the playing finger without raising it from the string.
Undoubtedly, a stable sense of interpretation in the beat, and even more so
in the swing style, is achieved through constant listening, comparing and
trying out.
A performance tool with strong impact on the stylistic expression is Dirty
Glissando (Panayotov, P., p. 147). It is performed through "pulling" or "pushing"
of a fretted string with the playing finger across the fingerboard. This
sounding is borrowed from the vocal practice of the blues-singers and bluesguitarists, It is has particularly strong effect when is produced by electric
guitars with thin strings. The pulling (pushing) of the strings can be done with
any fingers of the left hand. If notation demands deviation more than a semitone, this is done usually with the fingers lying behind the playing one.

Fig. 55

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a) After the plectrum stroke sounds e1. The first finger pushes /pulls/ the
string until f1 sounds, within the marked duration;
b) finger 2 pushes, imperceptibly by ear, a pressed note f /can also
be
done with the help of finger 1/ towards note g1 and after the stroke of the
plectrum within the marked duration, returns to its former position;
c) fingers 1, 2 and 3 are placed on the string and are pushing it, and
after the plectrum stroke, within the marked duration, release the string
towards the target note;
d) two same-pitch notes are performed on two adjacent strings with

finger 1 usually pressing, and finger 4, with the help of fingers 2 and 3,
pushing g1 towards a1.

During "pulling" the thumb usually serves as support, counteracting to

the other fingers /Fig. 55/.
The teacher should demonstrate and help the student work out this
way of tone production. Here, a decisive role plays the thinness / hardness/
of the strings and the sense of precision.
Recommended supporting literature on stylistics and expression:
Buh, T. Rhythmisch-stilistische Studien fr Gitarre. Leipzig, 1970.
Hartmann, W., G. Karpa Studien in Swing und Beat. Leipzig, 1969.
Ihde, M. Rock Guitar Styles. Washington.
83

WORK ON ETUDES AND PIECES

Very important role for the establishment and development of technical

skills has playing of etudes (Panayotov, P. 1990; Quadt, A. 1972; Giuliani, M. 1986;
Carcassi, M. Leipzig; Pass, J., H. Ellis, 1973).

They help in the creation and

improvement of motion habits of the guitar player. In the past, almost all
famous guitar virtuosos like F. Sore, D. Aguado, A. Diabelli, M. Carcassi and
etc., created etudes literature for mastering all the different techniques.
These works are of no less value than their art works. Sometimes etudes
combine several techniques and the major task of the teacher is select the
most appropriate material considering:
- student's individual musical abilities;
- the attained technical level;
- the art works which are under working at the moment;
- specific goals related to removing deficiencies or mastering different
skills.
The etudes should be worked out thoroughly and conscientiously. The
teacher's task is to demand attainment of dexterity, easy movements,
dynamics and timbre expressiveness. At the beginning, it is good for the
student to play easy etudes in order to develop flexibility and establish
correct fingering, while gradually looking for greater variety and technical
difficulties. One of the major things that the student must get used to is
playing in slow tempo. To achieve speed, the performer should firstly develop
stronger technical, instrumental and musical abilities, controlled by the logic
and mind. These are the things distinguishing the good pedagogue in his
way of work and systematic approach. One should consider also the tone
production, phrasing and tempo.
Before the work on each etude starts, the elements that need special
attention should be highlighted. Also, analysis of rhythm, tone production,
phrasing, timbre coloration and dynamics should be carried out. The student
should be demanded, after studying the work in suitable tempo, to emphasize
stylistic peculiarities and steady intonation.
It is best to work on the etudes in small parts, until the difficult passages
84

are mastered. For this purpose student can use chromatic shifts of a given
bars in another finger position but with the same fingering, or one can try on
rhythmic or stylistic variations and etc. In the course of study different
articulations, tempo and dynamics could be exercised.
An important element of the teacher's work is etudes selection of
studies. This is based on the technical and performing goals being set.
For better clearness we offer a model with gradually increasing
difficulty for mastering technical methods:

for alternating fingers;

Versions for performance with the right hand: im, mi, ma, am, ia, ai.

for rest stroke with thumb I p I, free stroke (tirando) with /, m, a and
reverse;

for small arpeggio;

85

for big arpeggio;

varied (opposite) movement;

for two-voice texture and polyphony;

for legato;

86

for barre /small and big/;

for staccato and pizzicato;

for ornaments /embellishments/;

for flageolette tones;

for tremolo;

87

These etudes are not compulsory for the work on the listed techniques.
The relevant literature is highly varied and the selection, as well as the
combination of etudes is up to the pedagogue. The selection must be agreed
upon with the student considering specific goals of the work. At the same time
etudes' difficulty should be determinate by the level of performer's progress.
Etudes should be regarded as basic technical material, facilitating study
of art works.
Recommended supporting literature:
Panayotov, P. Easy studies for guitar: Sofia, 1990.
Panayotov, P. Concerts Studies and Pieces for Guitar. "Music", Sofia, 1989.
Aguado, D. Etden fr Gitarre. Budapest, 1983.
Giuliani, M. 24 Etuden fr Gitarre. Budapest, 1983.
Carcassi, M. 25 melodische und progressive Etden fr Gitarre. Leipzig.
Hartmann, W. 20 Duette in Swing und Beat. Leipzig, 1974.
Pass, J., H. Ellis Jazz Duets. California, 1973.
The work on etudes should not be separated from the study of the art
works, that's why such connection should be followed with the main task of
the instruction - performing music works (Simov, S. 1983; Schwarz-Reiflingen, E.
1956; Tomek, VI., 1983; Galbraith, B., 1986; Ihde, M., Washington).

Having attained particular technical skills with the instrument, musical

thought and especially emotional attitude, the student may start to work more
efficiently and systematically on his complete music and artistic development.
The teacher is the one who decides when is the right time for the student to
start considering and developing artistic skills, apart from the constant
attention to the technical ones. In this case, the emotional expression of the
student, his performing presence and commitment are of crucial importance.
There should be strong emphasis on the quality of sound-production, the
exact intonation and the precise rhythm, If the teacher just goes over the
pieces and doesn't place high criteria and strong demands, there will be no
effect. It is good if the teacher, after setting the main directions to give the
student possibility to build up independently the artistic figure and to unfold
his music imagination and associative thinking At the same time, the student
should be given assignments that increase his attention to issues he does not
88

"love" and deliberately ignores. Of course, he should not be forced to this,

but rather made aware of the need to remove the flaws.

Air this applies equally to the performing art works played with plectrum
or with combined technique /fingers and plectrum/.
After the final purpose is attained, the work should be left for a while to
"mature". Usually, this is recommended for works included in the major
repertoire of the performer.
If the student encounters technical difficulties in his study on art
works, the teacher should offer him technical exercises and appropriate
etudes that would help him to overcome the problems.
In the course of work special attention should be paid to the
memorizing. It is very useful for the performer learning by heart. This
gives him self-confidence and psychological stability, allowing more
freedom and creativeness in building up the artistic image.
89

PLAYING FROM MEMORY, SIGHT-READING /PRIMA VISTA/

An inseparable part of proper music education and condition for growth

is development of musical memory (Panayotov, P. 1995, p. 101). This is the ability
of student to store the obtained knowledge and to reproduce it in certain
point. All this process is influenced from the great number of psychological
factors and the teacher should devote special attention and time to perfect
student's musical memory. Besides, the musical memory is compulsory
condition for accumulation of music-aural perceptions and images
Achievement of this requires aural-motor habits, established musical
thinking and music culture. This, to a certain extent, depends also on
imagination and artistic taste of the prospective musician.
The purpose of guitar education is to include as diverse as possible
sheet music material, including riffs, scales, models and art works. Exactly
the practice of memorizing and storing, along with established performing
technique, ensures confidence during on-stage performance, regardless of
the psychological tension.
At the beginning the teacher should teach:
- aural perception and memorizing;
- visual perception and memorizing.
Of course, it is best if both types of memorizing are combined and
later expanded with mastered and automated motor and technical skills,
which on their part require deep analysis and thorough consideration.
One should not ignore the fact that memory is highly individual and varies. It
depends mostly on the depth of the analysis in the process of memorization
and its most characteristic features are speed and durability.
The teacher should assist the student in formation and development of
musical memory. Here, it is very convenient to rely on the unintentional
memorizing ability of children. A positive effect can have the development and
consolidation of emotional visual ideas. In other words, we must get as
close as possible to the child's psyche by means of images, conveyed by
the teacher by means of comparisons and demonstrations. All this should

90

lead to strengthening of the memory, clarification of the sound picture and

self-esteem. To achieve this one can use passages, technical exercises and
models.
Regardless of the natural talents of the student, the daily studies should
follow a systematic structure. The formation of habits for memorizing with
awareness ensures the correct development of the young guitarist. The
teacher must be insistent and consequent if he wishes to achieve high results
with the students.
Difficulties with memorizing and retention of knowledge and experience
may result in lack of confidence and expression and in stress during on-stage
performance.
Some of the ways of developing strong memory are:
- playing work or etude in slow tempo and with awareness;
- analyzing and clarifying difficulties;
- working out separate bars, sentences and phrases, firstly with sheets
and later without them.
Each of the difficult passages should be worked out separately and
extensively. The clearly directed mental and motor activity during the lesson
is very important. Otherwise, just monotonous mechanical repetitions can
have a negative effect.
The complete formation and development of performer includes also
knowledge of sight-reading /prima-vista/. This is a synthesis of instrumental
and technical skills, sight, ear, concentration, will, memory and intuition. To
obtain high level of sight-reading ability the student needs continued and
systematic exercises. It is best to make them at the beginning /after the
warm-up/ or at the end of each lesson. At the initial stage of the training, it is
preferable to assign easier music texture and to increase gradually the level
of its difficulty (Panayotov, P. 1995, S. 97).
The teacher must clarify the upcoming goals and tasks, for instance:
- fast reading of the note text and recognizing key, measure and tempo;
- determining and analyzing the structure of the note texture;
- recognizing the most important rhythmic and intonation complexes;
- cultivating peripheral sight in reading of the note text.
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All this can be achieved only with fast and conscious motor reactions.
Keeping metric rhythm is of prime importance.
Beside instrumental skills, the young guitarist needs training in
solfeggio. It is very useful to sing, silently or aloud, individual passages or the
whole piece. Special attention should be paid to syncopations, riffs and
stylistic details.
To achieve sustainable results the student should exercise systematically at home displaying also self-initiative.

92

STAGE BEHAVIOUR AND ARTISTIC PERFORMANCE

Cultivation of stage behavior of the young performer begins with the

first lesson. This is compound and prolonged psycho-technical process
subjected to the final aim onstage performance (Panayotov, P. 1995, S. 100).
Very often, a child, having exercised thoroughly at home, cannot present
the accomplished in class. The reasons could be diverse but most often
they come down to fear, shyness and lack of self-confidence. There are
also numerous cases where teacher's approach is wrong.
Overcoming of these hindrances requires careful and systematical
approach. Here again, a decisive factor is mental control. Achieving this, if
the young guitarist gains control over the emotions, he will certainly be able
to stay self-controlled and concentrated during the stage performance. The
student together with the teacher needs to build up psychological balance
and cultivate concentration and self-control that will help him sustain any
external distracting factors. The earlier this process starts, the more naturally
and easily difficulties be overcome.
Before appearing on stage, the young guitarist must be prepared for this
psycho- physical pressure. He should have worked out everything in
advance technical skills, psychological balance, active will power,
concentration and etc. Good health also is essential for achieving stable
psychological balance The young guitarist needs to have a healthy work-rest
schedule. In this respect, the home environment plays essential role.
Young performer should preferably start to appear before audience at the
earliest possible and keep doing so frequently and on any occasion.
Otherwise, the "stage-fright" would always increase and bother him.
The appropriate warm-up is fundamental for activation of the motor
activities and the technical freedom during performance. The warm-up pattern
is strongly individual and is up to performer, depending on his needs.
It is advisable for the performer to be familiar in advance with the
concert hall environment and its acoustic features, in order to be able to
adjust or correct his performance in terms of timbre and dynamic.
In respect to the formation of habits related to overcoming the stress or

93

"stage-fright the teacher should concentrate on:

- preliminary training for excluding side irritation factors;
- giving to the student self-confidence for his technical and music
abilities;
- work on psychological and physical student's adjustment;
- activation of strong will, psychological balance, in terms of selfconfidence and concentration;
- appropriate warm-up and familiarization with environment.
It is very important to consider, to predict all possible stage performing
situations and to exercise them in lessons. This will enable the would-be
performer to appear willingly and confidently on stage and not to allow
anxiety and psychological tension to disturb his performance, being
subconsciously prepared for that.
It helps if prior to important performance the teacher sets the student in
similar to the stage situation, so that he can "experience" the stage-fright.
How should the performer behave on stage? If he has overcome his
spontaneous emotions subordinating everything all to his mental reflex
reactions, he would have stage behavior that replicates an already familiar
situation. Of course, on stage the contact with the audience is very important.
This is largely an artistic gift but can also be cultivated and improved.
In any case student should not appear on stage unprepared. This may
disturb his mental balance and may put him off the audience, creating
durable complex. On the other hand, the sooner the contacts with the
audience start the easier the fright and tension would be overcome.
Essential for this are the technical skills and the ability of the student to
concentrate and control his emotional impulses and psyche.

94

SELECTION OF TECHNICAL AND ARTISTIC MATERIAL

/ Repertoire /

Selection of technical and artistic material should correspond to the

level of education. For beginners it should include particular technical
exercises, easy etudes and pieces. During the first months they are
monophonic melodies, later two-voice textures and polyphonic ones. The
accent is mainly on easy pieces but is recommended to include also not
very difficult etudes in view of the final goal. Still, at the beginning should be
played material that best suits the individual preferences of the student and
increases his interest.
At the beginners level teacher should consider the following:
- young and elder students have different technical abilities;
- work with young children requires patience and perseverance, without
growing into pedantry;
- not being obstructive to child's imagination for building up artistic
image;
- going not too far with endless explanations and orders.
It is best if the teacher, using diverse material, introduces the student
spontaneously, almost unnoticeably, into the core of the problems, thus
avoiding boredom, unnecessary explanations and irritation.
At the beginning the teacher has great responsibility. He must have
correct approach to the technical perfection goals. What is essential is to
increase the load gradually, which means to develop the performer's qualities
and skills naturally and on plan, rather than forcefully and at any rate.
The growing technical skills of the student broaden the tasks of the teacher
related to the selection of material. The teacher has, within a certain timescope, to bring the student out of the beginners' level and prepare him for
performing more difficult works. With this consideration the repertoire should
be selected:
- increase of the technical and performance skills;
- improve the means of expression;
- develop musical and performance feeling;

95

- formation of performing skills for more difficult art pieces.

When selecting technical exercises and repertoire the teacher
should consider:
- upcoming goals and tasks;
- technical skills of the student;
- strengths and weaknesses in student's individual style;
- performer's preferences and wishes;
- tendencies for future professional realization.
Thus, the teacher will be able to correct and direct accurately the
learning process. Still, it should not be forgotten that the final goal of the
musician is to appear on stage as performer and to achieve artistic success.

96

GLOSSARY*
ad libitum (ad libitum, ad lib. - lat.) - at one's own pleasure
chord (accord - lat. /fr.) simultaneous sounding of three or more notes that
are or can be arranged in 3rds
acoustics (akoustike - gr.) science of sounds; sound timbre; suitable
conditions for the hearing of music or speech
accent (accentus -lat.) stress, emphasizing of particular notes or chords.
a! fine (al fine - it.) play until the end
allegretto (allegretto - it.) pretty lively tempo in music
alteration (altero - lat.) chromatic change of chords
andante (andante - it.) moderately slow tempo
arrangement (arrangement - fr.) remaking of a music work for a particular
music medium; adaptation of a music motif or piece
arpeggio (arpeggio - it.) chord that has been broken-up (the notes sound in
succession rather than simultaneously)
articulation (articulatio - lat.) the way the different notes are performed; the
activity of sounds formation
a tempo (a tempo - it.) play again in the initial tempo
up-beat (Auftakt - ger.) incomplete beat which forms a lead-in to the first
beat of the first full measure
ballad (ballade - fr. / it.) vocal piece composed on a ballad literature text;
instrumental piece based on a literary or vocal ballad; a composition with
dramatic-narrative character
band (Band - eng.) a rather small group of different numbers of musicians
performing jazz of dance music
barre (barre - fr.) a technical mode in guitar playing in which one of the left
hand fingers stops more than one string
bass (basso - lat. / it.) double bass; low voice; music instrument that plays
the low parts
beat (Beat- eng.) emphasized, stressed interrelation between particular
metric times within one measure characteristic for in the current trends in
dance music
big band (Big Band - eng.) a big dance (jazz) orchestra
encore (bis - lat.) until; again; a repeat mark in music notation
blue note (eng.) flattened Ill-rd, V-th and Vll-th notes of the major mode
break (eng.) a short solo pause in jazz or dance music
variation (variatio - lat.) modification with the main elements of the theme
remaining unchanged
vibrato (vibrato - it.) light fluctuation in pitch characteristic for the string
instruments
scale (gamma - gr.) the seven main degrees of the mode arranged
in ascending or descending order of pitch
glissando (gliss. - it.) retarded passing from one note to another performed
through expressive drawing of the fingers down or up the string(s)
golpe (golpe - span.) percussion with right hand finger on the upper soundboard of the guitar
da capo (D.C. da capo - it.) from the beginning
dal segno (D. dal segno - it.) from the sign ( )
97

jazz (eng.) north American improvisation style in music containing elements

of African folklore and European dance music; improvised north American
music form with elements of European and African music
dynamics (dynamike - gr.) aspect of music related to the degree of
loudness with which music works or parts of them are performed
dirty glissando (eng.) a technique for "pulling off" a fretted note. In guitar
this is performed by pushing the string to the side with the pucking finger,
square to the fingerboard
enharmony (enb, harmonia - gr.) harmony in the equally tempered scale;
mode
enharmonics (enharmonikos - gr.) tones, intervals, modes and chords
written and named differently (in the tempered system) but sound
equally; tones that are different in meaning and graphic designation and with
different pitches
epilogue (epilogos - gr.) afterword; conclusion; end
study (etude - fr.) instrumental or vocal piece for mastering technical
practices; musical composition for step-by-step training
Satz (ger.) form; expression; long musical sentence; autonomous part in
cyclical pieces
imitation (imitatio - lat.) polyphonic composition in which a theme or motif
displayed in one of the voices is repeated by another/other/ voice/s/ literally or
with modifications; repetition of the leading melody or motif in polyphonic
music by different voices or instruments
improvisation (improvisazione - it.) spontaneous composition of a melody
from a theme or harmonic assignment with own ideas; creation of a music
piece without preparation
interval (intervallum - lat.) difference between the pitches of two notes
interpretation (interpretatio - lat.) performance of a musical work based on
personal ideas and feel
introduction (introductio - lat.) introducing part of a music work
capodasto (it.) device placed on the fingerboard of the guitar that shortens
the strings and provides mechanical transposition without change in the
fingering
coda (it, couda - lat.) ending part; conclusion
combo (amer.) small jazz (dance) orchestral band
legato (legato - it.) connected performance of two notes marked in the
notation with a bow linking the notes
ligatura / tie (lat.) a sign in the form or a bow that links notes with the same
pitches and sums up their values
melism (melisma - greek.; akzidenzien - lat.) melodic embellishment
metrum (metrum - gr.) periodic succession of a group of accented and
unaccented (strong and weak) beats in a music piece; symmetric distribution
of weak and strong beats in the bar
moderato (it.) medium, quiet tempo
modulation (modulatio - lat.) transition from one key into another
motif (motiv - fr.) a short rhythmic or melodic idea with autonomous identity
music system (Tonsystem - ger.) a group of established tones placed in
particular pitch relationships to one another
musical form (musikalische Form - ger.) refers to two related concepts: the
type of composition (for example, a musical work can have the form of a
symphony, concerto, other generic type or the structure of a particular piece
(for example, a piece can be written in binary form, sonata form, fugue and
98

etc. emotionally led musical order/ structure/, resume into small fragments of
the heard musical piece
octave (oktava - lat.) same-name tones, one of which is twice as high or as
low as the other; an interval comprising eight steps, the first and the last of
which have the same letter names
opus (op. - lat.) work; musical composition which has an individual number
among the composer's works
texture (partitura - it.) notation of a musical work for all voices /
instruments/ bar to bar; notation of a music work for orchestra, choir,
instrumental or vocal ensemble and other members, where the parts of the
different instruments or voices are brought on separate lines below each other
for simultaneous reading
rest (pause - gr.) period of silence; rhythmically determined interruption of
the melodic line
period (periodos - gr.) structural unit of a musical work with own meaning
which expresses an accomplished idea
pizzicato (pizzicato, pizz. - it.) - effect produced on string instruments (violine,
guitar.etc.) when the strings are plucked with fingers
plectrum (Plektrum - ger., Plektron - gr.) horn, bone or celluloid plate
which is used to play instruments like guitar, mandolin, banjo, etc.
plectrum guitar (Plektrumgitarre - ger.) electric guitar; it is played with
plectrum
prelude (prelude - fr.) introductory part of a polyphonic piece of music; short
musical piece, usually with uniform structure, which conveys a particular mood
or image
rasguedo (rasguedos - sp.) playing manner in which the right hand fingers
strum the strings with the outer side
reprise, repetition (reprise - fr.) literary or free repetition of a part of a
musical composition (suite, fuge) immediately after its first performance or
after another part
ritardando (ritardando - it.) gradual slow-down in tempo as compared to the
main tempo of a music piece
rhythm (rhytmos - gr.) measured movement; motion obtained as a result of
succession of notes with different durations; organized, logical succession of
note values
sound (eng.) - characteristic sounding of a band or a musical work
sequence (sequentia - lat.) repetition of a motif, of different steps in
ascending or in descending order
seconda volta (seconda volta - it.) first-time repetition
simile (simile - it.) as by now; in the same way
syncopation (synkope - greek.) rhythmic figure in which a note stepping in
on a weak metric beat has continued to sound in next strong beat
staccato (staccato, stacc. - it.) short performance of note values, without
accent
style (stylus - gr.) mode of expression of performance; conditioned system
of artistic thinking and interpretation
swing (swing - eng.) specific type of metric pulsation based on constant
departures from the main rhythm in jazz interpretation
bar /measure/ (taktus - lat.) stroke; part of a music piece starting on a
strong, accented beat and ending on the next strong metric beat
tambora (sp.) an effect in guitar playing, performed with the right-hand
thumb which picks the strings rapidly and abruptly with its outer side precisely
99

on the lower bridge of the string-saddle

theme (thema - gr.) pronounced, artistically accomplished idea which
undergoes development through a melodic, rhythmic, harmonic and coloristic
elaboration
timbre (timbre - fr.) sound quality which distinguishes tones with equal
pitches produced by different instruments or voices; characteristic sounding.
tempo (tempus - lat.) the speed at which a piece of music or individual parts
of it are performed; the speed of pulsation of metric beats
tenuto (tenuto - it.) articulation marking - leaning on a note and holding it to
its full value
tremolo (tremolo - it.) trembling; rapid repetition of a single note two or
more times
fermata (fermata - it.) retention; a mark for indefinite prolongation of a note
or rest
finale (finals - lat.) end; closing part of a music work
flageolette (flageolet - ft.) high sound from a string instrument produced
by light stopping of the strings at specific points; sounds produced by
touching the aliquot sections of the strings
fragment (fragmentum - lat.) part of an art (music) piece
phrase (phrasis - gr.) structural section with musical meaning unifying two
or more motifs; accomplished part of a musical theme / expression/
phrasing (phrasis - lat.) meaningful artistic-technical emphasizing of
phrases, which is a distinguishing feature of supreme interpretation; formation
of correct succession of notes
fuga (fuga - lat.) the supreme imitation-polyphonic form of a musical work
with many voices; a music form for many voices or instruments in which one
principal theme passes without interruption from one voice / instrument/ into
another
caesura (caesura - lat.) a momentary, logically conceived interruption
during the thematic flow of the melody, real or imaginary rest which separates
one rhythmic concept from another, and in the vocal melody coincides with
prosodic caesura of the word text

Note: The emphasis is only on key words and expressions used in the methodology, The
following sources have been used: Abrashev, B. Musical instruments. Sofia, 1995; Milev, Al., J.
Bratkov etc Dictionary of Foreign Words in Bulgarian Language. Sofia 1970; Panayotov, P. Practicebook for guitar. Sofia, 1988; 1993; Philipova-Bayrova, M., Boyadjiev, S. etc. Dictionary of
Foreign Words in Bulgarian language. Sofia, 1993; Hadjiev, P. Elementary theory of music.
Sofia, 1983; Chetrikov, Sv. Dictionary of music terms. Sofia, 1979; Horby, A. S., Chr. Rose
Oxford Student's Dictionary of Current English. Oxford University Press, Second Edition,
1989; Ziegenrcker, W. ABC Musik, Leipyig, 1977.

100

AUTHOR'S PUBLICATIONS
IN SUPPORT OF THE GUITAR-PEDAGOGUE
Panayotov, P. Scales and technical exercises for guitar. "Music",Sofia, 1987,
p. 57.
Panayotov, P. Practise-book for guitar. "Music", Sofia, 1988, p. 136.
Panayotov, P. Practice-book for electric guitar: "Music", Sofia, 1988, p. 166.
Panayotov, P. Methodological outlook training in guitar for beginners. "Music
horizons", book 10, Sofia, 1988, p. 28-33.
Panayotov, P., G. Mirchevski Country and Blues for Guitar. "Music", Sofia,
1989, p. 48.
Panayotov, P. Easy Pieces for Guitar. "Music", Sofia, 1989, p. 60.
Panayotov, P. Concerts Etudes and Pieces for Guitar. "Music", Sofia, 1989,
p. 50.
Panayotov, P. Easy Etudes for Guitar "Music", Sofia, 1990 p. 64.
Panayotov, P. Tone production, Fingering and Articulation for Classical
Guitar "Music Horizons", Book 9 - 1 0 , Sofia, 1991, p. 78-88.
Panayotov, P. Pieces for guitar (2nd revised edition). Muzika, Sofia, 1993, p.
140,
Panayotov, P. Beginners' Practice-Book for Guitar. "Pan Styl", Sofia,
1994, p. 60
Panayotov, P. Methodology of the Instruction In Guitar: "Pan Styl", Sofia,
1995, p. 106.
Panayotov, P. Etudes for Guitar 1. "Pan Styi", Sofia, 2000, p. 35.
Panayotov, P. Etudes for Guitar 2. "Pan Styl", Sofia, 2002, p. 46.
Panayotov, P. Experimental Model for Guitar Instruction. "Dobrev Music" No
2, Sofia, 2002, p. 18-25.
Panayotov, P. Famous Practice-Books for the Guitar Instruction. "Dobrev
Music", Guitar, No 3, Sofia, 2002, p. 16-24.
Panayotov, P. For and Against Guitar Competitions in Bulgaria. "Dobrev
Music", Guitar, No 3, Sofia, 2002, p. 25-26.
Panayotov, P. Musical Abilities and Physiological Requirements of the Guitar
Education. "Dobrev Music", Guitar, No 2, Sofia, 2003, p. 13-23.
Panayotov, P. Methodology of Guitar Instruction (2nd revised edition). "Pan
Styl", Sofia, 2003, p. 136.
Panayotov, P. Scales and technical exercises for guitar (2nd revised
edition). Pan Style, Sofia, 2004, p. 92.
Panayotov, P. The origin of guitar-historical development and structure
Dobrev Music, Guitar, issue 1, Sofia, 2005, pp. 8-12.
Panayotov, P. Music educational system. Dobrev Music, Guitar, issue 3,
Sofia, 2005, pp. 8-14.
Panayotov, P. Guitar jazz improvisation. Guitar, issue 4, Sofia, 2005, pp. 1018.
Panayotov, P. Guitar theory and educational methods. Pan Style, Sofia,
2005, p. 310.
Panayotov, P. Guitar teaching in higher education and writing of
bachelors, masters thesis and doctorates. Guitar, issue 2, Sofia, 2006, pp. 1929.
Panayotov, P. Organization and estimation criteria of Guitar competition in
Bulgaria, Guitar, issue 3, Sofia, 2006, pp. 13-17.
Panayotov, P. Musik and computer education. Guitar, issue 4, Sofia, 2006,
pp. 5-8.
101

Panayotov, P. Guitar theory and educational methods. Pan Style, Sofia,

2007 (2nd revised edition), p, 295.
Panayotov, P. Guitar Days in Kiustendil. "Music horizons", No 5, Sofia,
2007, p. 10-11; "Guitar" Magazine, No 2, "Dobrev Music", Sofia, 2007, p. 913.
Panayotov, P. Methodology of Guitar Instruction (3 revised edition). "Pan
Styl", Sofia, 2008, 136 p.
Panayotov, P. Concert of pop, rock and jazz performers from the New
Bulgarian University. "Music horizons", No 3, Sofia, 2009, p. 16.
Panayotov, P. Guitar festival days in Kyustendil . "Music horizons, No 4,
Sofia, 2009, pp. 1718.
Panayotov, P. Guitar. Pan Style, Sofia, 2010, 266 p.
Panayotov, P. Guitar (2nd revised edition). Pan Style, Sofia, 2012, 342 p.

102

BIBLIOGRAPHY
Abraschev, B, Musikalische Instrumente. Sofia, 1995.
Aguado, D. Metodo de guitarra. 1925.
Albert, H. Lehrgang fr kunstlerisches Gitarrespie. Berlin-Lichterfelde.
Bartos, A. Skola hry na kytaru. Praha, 1964.
Beker, M. Jazz Guitar. Carlstadt.
Buhe, T. Rhythmisch-stilistische Studien fr Gitarre. Leipzig, 1970.
Buhe, T. Schule fr Plektrumgitarre. Leipzig, 1973.
Buhe, T., W. Iliev Die Plektrumgitarre 1. Leipzig, 1988.
Buhe, T., W. Iliev Die Plektrumgitarre 2. Leipzig, 1989.
Burrows, T. Die grosse Weltbild Gitarrenschule. Augsburg, 2002.
Carcassi, M. 25 melodische und progressive Etuden fr Gitarre.
Leipzig, 1972.
Carulli, F. Gitarreschule. Mainz/ London/ New York/Tokyo, 1927.
Carlevaro, A. Serie Didactica No 2. Buenos Aires, 1966.
Eulner, M., J. Dreksler. Gitarren-Schule. Bad Wimpfen, 1986.
Galbraith, B. Jazz Guitar Study Series. New Albany, 1986.
Giuliani, M. 24 Etuden frGitarre. Budapest, 1986.
Hirsch, F. Das grosse Worterbuch der Musik. Berlin, 1984.
Ihde, M. Rock Guitary Styles. Washington.
Just, Fr. Neues Gitarrebuch 1. Leipzig, 1983.
Kurtewa, M. Musikalisches Gedachtnis bei den jungen Pianisten. Sofia,
1985.
Panayotov, P. Scales and technical exercises for guitar. Sofia, 1987.
Panayotov, P. Practice-book for guitar: Sofia, 1988, 1993.
Panayotov, P. Practice-book for electric guitar. Sofia, 1988.
Panayotov, P. Easy etudes for guitar: Sofia, 1990.
Panayotov, P. Beginner's practice-book for guitar. Sofia, 1994.
Panajotov, P., G. Mirtschewski Country und Blues fur Gitarre. Sofia,
1989.
Panajotov, P. Methodik des Gitarreunterrichts. Sofia, 1995.
Peter, U. Der Anfangsunterricht im Gitarrespiel. Band I. Leipzig.
Peter, U. Der Anfangsunterricht im Gitarrespiel. Band II, Leipzig.
103

Peter, U. Der Weg zum Solospiel aufder Gitarre. Leipzig.

Pozsonyi, J. Jazz-Guitar. Budapest, 1968.
Pujol, E. Practice-book for 6-sthng guitar: M., 1983.
Sor, F. Methode pour la guitarre. Bonn, 1930.
Tibor, C. Jazz-gitar skola. Budapest, 1983.
Vogel, J. Jazz Guitar. Bruhl, 1996.
Wicke, P., W. Ziegenrcker Rock Pop Jazz Folk. Leipzig, 1985.
Ziegenrcker, W. ABC Musik Leipzig, 1977.

104

CONTENTS
PREFACE ......................................................................................... 3
ORIGIN, HISTORICAL DEVELOPMENT AND
CONSTRUCTION OF THE GUTAR ................................................... 6
CHOOSING MUSICAL INSTRUMENT, CLASSIFICATION 14
SHAPE OF FINGERS, FINGERNAILS AND PLECTRUMS .............. 18
TRAINING OF BEGINNERS ... 21
POSITION ........................................................................................ ... 27
TONE PRODUCTION WITH FINGERS AND PLECTRUM ............. .. 32
ORGANIZATION OF LESSON, FORMATION OF
INSTRUMENTAL HABITS AND
PERFORMING TECHNIQUE ............................................................ . 36
FINGER POSITIONS /FINGERING/
AND PROBLEMS WITH TONE PRODUCTION ............................... 41
SCHEDULE OF PLAYING SESSIONS ........................................... 48
WORKING WITH SCALES AND TECHNICAL EXERCISES ............. 51
ARTICULATION AND PERFORMING MODES . 56
ARTICULATION, PHRASING, COMBINED TECHNIQUE . 71
TIMBRE, STYLISTICS ..................................................................... 79
WORK ON ETUDES AND PIECES ................................................ .. 84
PLAYING FROM MEMORY, SIGHT-READING /PRIMA VISTA/ . 90
STAGE BEHAVIOUR AND ARTISTIC PERFORMANCE ............... 93
SELECTION OF TECHNICAL AND ARTISTIC MATERIAL ............ 95
GLOSSARY .. 96
AUTHOR'S PUBLICATIONS IN SUPPORT OF
THE GUITAR-PEDAGOGUE ......................................................... 101
BIBLIOGRAPHY ........................................................................... . 103
CONTENTS .................................................................................. .. 105

105

METHODOLOGY OF THE INSTRUCTION IN GUITAR

Prof. Panayot Petrov Panayotov PhD
1st edition Copyright 1995

Publisher's Editors:
Petko Vuichev
Ljuben Haralampiev
Prof. Georgi Arnaudov PhD

Editor
Prof. Emilia Vassileva PhD

Pictures
Maria Georgieva

English Translation
Vania Radeva PhD

Korrektur
Poli Velichkova PhD
Janet Dekova-Sivrieva

Computer Design
Prof. Panayot Panayotov PhD
Borislav Dochev PhD

4nd revised edition

Panayot Panayotov - author, 2009
Vanja Radeva - english translation, 2007
ISBN All rights reserved /1st edition, Copyright 1995

106

 1943 . .
, .


.
. , . ,
.
. 1977 .
.
1996 . .
-

.
2000 . .
2002 . , 2006 .
.

, . , ,
. . .
41
, .
1993 . . 2002 .
, . ,
, . .

107

CURRICULUM VITAE

Panayot Petrov Panayotov

Nationality: Bulgarian
Citizenship: Bulgarian
Marital status: Single
Date of birth:14 March 1943
Place of birth: Elena, Veliko Turnovo region, Bulgaria
Current residence: Sofia 1517, Suha reka housing district, block 85, ent. E, p.19,
Bulgaria
Telephone: (++359 2) 854 52 85
Mobile: (++359 2) 888 634 809
E-mail: pppanayotov@gmail.com
E-mail: pppanayotov@nbu.lg
Education
Ilarion Makariopolski high school, Elena, graduated 1960
Pop-music college of the Bulgarian State Conservatory, Sofia, 19691971
Master of Arts, Musical pedagogy
Ferenz Liszt music college, Weimar, Germany, 19721977

108

Master of Arts, School pedagogy and Management of education

St. Kliment Ohridski University of Sofia, 19921996
Qualified expert 1st Degree, Musical pedagogy
Pedagogical department, St. Kliment Ohridski University of Sofia, 1996
1996 in, Sofia
Doctor of Philosophy
St. Kliment Ohridski University of Sofia, 2000
Associate Professor
New Bulgarian University, Sofia, 2002
Professor
New Bulgarian University, Sofia, 2006
Work experience
Employment:
Kremikovtzi Steel Plant, Bulgaria
Worker
19621969
The towns of Kala and Weimar, Germany
Teacher in Kala and lecturer at the music college of Weimar
A series of concert music performances through contracts with Music Management
Agency, Sofia and Kuenstler Agentur, Berlin
19771982
Lyubomir Pipkov music high school, Sofia
Teacher of classical guitar, chamber music and methodology of instrument playing
19831995
New Bulgarian University, Sofia
Teacher of instrument playing, chamber music, classical and electric guitar
1995 to present
Academy of Music and Dance, Plovdiv
Lecturer of instrument playing/ methodology
1995 to present
Dobri Hristov music high school, Varna
Lecturer of instrument playing/ methodology
109

St. Kliment Ohridski University of Sofia

Leader of guitar class
2000 to present
Own publishing business:
Pan Style publishing house, Sofia
Owner and Managing director
1993 to present
Languages
German: fluent - oral and written.
Czech: working knowledge
Polish: working knowledge
Russian: working knowledge
Books, articles and school syllabi published
Author of more than 41 pedagogical books and articles on the methodology of
instrument playing, including one in German
Member of various panels at music competitions
Member of councils inspecting art schools
Co-author of syllabi endorsed and published by the Committee for Art and Culture in
Bulgaria

110