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An important area of guitar education, whether in a private studio or a public school classroom, is that of guitar "fingering"--the exact, well-planned, and deliberate designation of fingers to a musical passage. Knowledge, understanding, and application of basic fingering principles will aid students in such parameters as technical proficiency, expression, phrasing, memorization, and performance security. This dissertation supplies the teacher with a theoretical basis from which to present this important topic. The basis is built on two sets of principles: (1) the physical properties of the guitar and its tone production (guitar size, distance between the frets, sustaining quality of the strings, and varying timbre of the strings), and (2) the physiological structure of the human hand and arm (length of the fingers, alignment of hands with the strings, strong and weak finger combinations, changing positions, fatigue, and string crossing). This study is divided into seven chapters. The first serves as an overview of the current status of guitar education and provides an introduction to the topic of fingering. Chapter 2 describes the notation used throughout the document and defines such fundamental concepts as basic position for the left and right hand, the names of positions, stretch and squeeze positions, the bar and hinge-bar, and rest and free strokes. Chapters 3, 4, 5, and 6 present information that constitutes the main conclusions of this study. They deal with the left hand fingering of melodies played on a single string, left hand fingering of melodies played on two or more strings, left hand fingering of homophonic and contrapuntal music, and right hand fingering. Included in these areas of discussion are basic left and right hand positions, minimum movement, pivot and guide fingers, position playing, changing positions, strong and weak finger combinations, and fingerings which complement musical phrasing and expression. Chapter 7 summarized the major concepts presented in the dissertation, gives guidelines to teaching the topic of guitar fingering, and supplies suggestions for future research in this subject area.

The nineteenth century presents a great increase in publications of guitar methods. Most authors of the time published several versions of their works. Fernando Sor, perhaps the most prominent guitar composers of the time—whose Méthode is regarded today as the most important of the period—only published one edition. However, Napoleon Coste took on the task to do a second account. The literature reviewed shows substantial existing information regarding background, type of text, tone, and contents of Sor's work, but comparisons to date are not substantial. Therefore, there is a need to compare these two texts side by side to yield a complete view of their pairing. The existing negative views of Coste's edition hinder the importance of Coste's work as reference to Segovia's publication of Sor studies, and as a clearer pedagogical application of many of Sor's concepts which are sidetracked by his response to criticism and his elaborations in matters beyond his main subject matter. I provide a comprehensive review of Sor's method, an outline and a consideration of his concepts. Then I offer a complete English translation of Coste's method which is inexistent until now. The comparison follows pointing at differences and similarities. Results show that Coste clarifies and complements many of the principles in less text and simpler language. He modifies certain others either to approach Sor's practice or to depart to a newer standard. He offers his own lessons and sections to apply Sor's concepts. Coste's text heads towards a pedagogical synthesis of Sor's method, but it is incomplete because he omits some concepts without leading the readers to consult Sor. Coste's pedagogical and practical relevance is fundamental for modern standard techniques.

This dissertation is a comparative study of the classical guitar and the Pipa. One of the most popular plucked string instruments in the Western Hemisphere is the guitar and in the East, the Chinese pipa. The guitar and the pipa are the distant relatives and both share many commonalities in their history, technique, and construction. The purpose of this study is to illustrate the origins of the instruments, to show the similarities and dissimilarities of construction, and to compare the techniques used for both instruments.The study consists of six chapters. Chapter I presents introductory information as well as the purpose, significance, procedures, and delimitation of the study. Chapter II, a review of related literature, provides a brief description and evaluation of important sources utilized. Chapter III presents a brief history of the classical guitar and the Chinese pipa. Chapter IV provides an overview of the construction in which related to tone production itself of the guitar and the pipa. Chapter V gives a thorough discussion of the techniques used in both instruments. This chapter is further subdivided into four sections: Tone production, Right hand technique, Left hand technique, and "Special" techniques with regard to the use of timbre.By making comparisons between the guitar and the pipa, composers, performers, and luthiers would benefit. By learning the musical possibilities of each instrument, composers could expand the repertoire of each by borrowing their respective musical characteristics. Performers could improve both their techniques as well as add techniques to enhance their own musicality. Finally, luthiers would be able to experiment with their methods of building and perhaps produce higher quality instruments. The author hopes that the findings of this study, therefore, will not only add to musical knowledge in a global society, but also encourage further study. / School of Music

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-10-26T11:10:22Z No. of bitstreams: 2 Dissertação - João Henrique Correa Cardoso - 2015.pdf: 1889051 bytes, checksum: 30ceafcbcec49849ebbd9052365878f6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-26T13:20:58Z (GMT) No. of bitstreams: 2 Dissertação - João Henrique Correa Cardoso - 2015.pdf: 1889051 bytes, checksum: 30ceafcbcec49849ebbd9052365878f6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-26T13:20:58Z (GMT). No. of bitstreams: 2 Dissertação - João Henrique Correa Cardoso - 2015.pdf: 1889051 bytes, checksum: 30ceafcbcec49849ebbd9052365878f6 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Study of classical guitar technique aims at providing enabling tools to musical expression. This research investigated the different techniques in the traditional guitar methods. Our main objective was to identify the diverging and converging characteristics among such methods, as well as to elucidate elements and concepts that directly influenced the current approaches towards the instrument. For this purpose, the paper encompasses three chapters: the first one is about the structural changes in the guitar which interfered in the dawn of new technical approaches. It also presents a historical and bibliographical survey on classical guitar techniques from the 17th, 18th and 19th centuries. The second chapter identifies and discusses the main distinguishing elements of each method’s suggestions. In the last chapter, we analyse the results by using the theoretical background previously discussed, the considerations concerning to the performance possibilities and the differences learnt throughout the study of the methods. By comparing all those elements, we were able to observe that the convergences or divergences emphasizing factors among the methods are wide, being specially influenced by the didactic philosophy in each one. Eventually, we verified that the divergences are highlighted as we compare the Spanish to the Italian method. / O estudo da técnica violonística tem a finalidade de fornecer ferramentas capazes de possibilitar a expressão musical. A presente pesquisa investigou as distintas linhas de condutas técnicas contidas nos métodos para violão que consideramos tradicionais. O intuito principal foi identificar os pontos divergentes e convergentes entre os métodos, bem como elucidar elementos e conceitos que influenciaram diretamente as atitudes atuais frente ao instrumento. Para tanto, este trabalho compreende três capítulos: o primeiro consiste na exposição das alterações estruturais no violão que intervieram no surgimento de novas abordagens técnicas, bem como em um levantamento histórico-bibliográfico acerca dos métodos para guitarra do século XVII, XVIII e XIX. O segundo capítulo identifica e discute os principais elementos que caracterizam as propostas de cada método. No último capítulo, discutimos os resultados a partir dos embasamentos teóricos, das considerações concernentes às possibilidades de execução e distinções colhidas através do estudo dos métodos. O emprego de uma ótica comparativa nos possibilita observar que os fatores que acentuam as convergências ou divergências entre os métodos são amplos, influenciados principalmente pela filosofia didática que cada um adota. Verificamos, ainda, que as divergências acentuam-se na medida em que comparamos os métodos espanhóis com os italianos.

The study's objective is to relate the development of Pat Metheny's stylistic characteristics from his interpretation of jazz standards to their incorporation into his own compositions. Stylistic elements are established and a sample of his compositions are analysed to compare his solo style in standards with his compositional style. Metheny is a recognised innovator in technique and uses a wide range of instruments in the guitar family, both traditional and radically new. The use of such instruments frees Metheny from some restrictions and the possibility that this freedom is a major influence in his improvisation and composition is remarked on. There is scope for further work based on a wider sampling, and the methodology used in this study could probably be modified to focus on this objective.

The 10 Etudes for Guitar by Giulio Regondi represent the pinnacle of technical achievement for nineteenth century guitar performance. Dense textures, large stretches, fast scales and arpeggios, and obscure modulations are used in combinations that were unrivalled among his contemporaries. The etudes were not published until the late twentieth century and have not had generations of guitarists solving their challenges and teaching them to younger generations of students. Right-hand fingerings are virtually non-existent in published versions, but a thorough study of period sources yields several strategies; examples from each etude are provided. Modern right-hand scale philosophy, such as playing scales with "a," "m," and "i" in the right-hand are addressed and further example provided to give players several solutions to choose from. Right-hand fingering implies articulation and several interpretations are analyzed for each etude where they exist. Left-hand fingerings are sporadically present in modern editions but are often lacking in the most difficult passages. Stretching techniques from other string instruments can be applied to the guitar and one technique in particular can be applied to the most difficult stretches in Regondi in numerous instances. For some of the most challenging textures several solutions are given. The etudes of Regondi can prepare the guitarist for challenges found in playing music that is not written for the guitar or even by guitarists which consists of a substantial portion of the modern concert guitarist's repertoire. His music pushes what is possible on the guitar and borderlines what many would call idiomatic. This paper establishes a small number of techniques that will allow players to solve any challenge presented in the etudes from multiple technical viewpoints.

This research study reports on the effectiveness of older methodologies with regard to teaching purposes for the classical guitar. The following Methods were discussed : F Sor : Methode pour la Guitare; D Aguado : Nuevo Metodo para Guitarra; A Segovia, as written by V Bobri : The Segovia Technique. These Methods were evaluated and compared with current guitar techniques as applied by Pujol, Artzt, Carlevaro, Duarte, Duncan, Shearer, Parkening, Sagreras, and the opinions of Brouwer, Aussel and Barrueco were also taken into consideration. The following technical aspects were analysed : posture; the Tripod; right· and left·hand techniques; fingering and scales; quality of tone and right-hand stroke : apoyando, tirando and ornamentation, as applied by Sor, Aguado and Segovia; and Sor's opinion of transcriptions. The Methods for the vihuela, the four· and five-course guitar, and the efforts of the eighteenth and nineteenth century were briefly discussed, such as : Milan; Narvaez; Pisador; Mudarra / M. Mus. (Musicology)

This research study reports on the effectiveness of older methodologies with regard to teaching purposes for the classical guitar. The following Methods were discussed : F Sor : Methode pour la Guitare; D Aguado : Nuevo Metodo para Guitarra; A Segovia, as written by V Bobri : The Segovia Technique. These Methods were evaluated and compared with current guitar techniques as applied by Pujol, Artzt, Carlevaro, Duarte, Duncan, Shearer, Parkening, Sagreras, and the opinions of Brouwer, Aussel and Barrueco were also taken into consideration. The following technical aspects were analysed : posture; the Tripod; right· and left·hand techniques; fingering and scales; quality of tone and right-hand stroke : apoyando, tirando and ornamentation, as applied by Sor, Aguado and Segovia; and Sor's opinion of transcriptions. The Methods for the vihuela, the four· and five-course guitar, and the efforts of the eighteenth and nineteenth century were briefly discussed, such as : Milan; Narvaez; Pisador; Mudarra / M. Mus. (Musicology)