Classical Guitar Class Curriculum, Grades 6-12 Teacher Manual

Guitar Curriculum.
com
Classical Guitar Class Curriculum, Grades 6-12
Teacher Manual
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In this Sequence Document
• Overview of 9 skill levels in GuitarCurriculum.com sequence
• Characteristics exhibited by successful students at all stages of advancement
• Classroom set-up diagram
• Performance checklist for evaluating student performances
• Detailed explanation of skill levels with specific sequencing suggestions
• Technical Exercises
This document is designed to provide a thorough understanding of the overall musical and
technical goals and the nine levels of advancement upon which the GuitarCurriculum.com
sequence is based. It is essential to develop an understanding of these goals and the framework
of 9 levels in order to most effectively use the repertoire, sight-reading and written exams
supplied through GuitarCurriculum.com.
As you learn about the GuitarCurriculum.com sequence, keep in mind that the repertoire created
for GuitarCurriculum.com is designed both to serve classes with students who are all at the same
level (i.e. most beginning classes) as well as classes with varying levels represented. Non-
beginner students entering a class should be evaluated through audition and should be assigned a
skill level. Instructors will then arrange their classes into three groups with three distinct skill
levels that best represent the skills of the students in the class.
The central philosophy of GuitarCurriculum.com is that, at all stages, students should be making
beautiful, expressive music. While level-structure is primarily technical, the goal at every stage
is primarily musical. For this reason, music at all levels contains ample expressive indications.
© 2006 Austin Classical Guitar Society

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Overview of 9 skill levels in GuitarCurriculum.com sequence
Theory/Fundamental 1. Technical
●Identify parts of the guitar and ●Sit in proper playing position including
equipment associated right and left hand placement
●Identify staff, time signature, lines ●Play single free stroke with P, I & M
and spaces with “fixed fingers”
●Read open strings on the staff ●Play music involving the left hand by
●Read rests and notes half, quarter, eighth rote only
Identify sixteenth
●Identify right hand letters/left hand numbers
2.
●Read in first position on strings 1,2 & 3 ●Play G major scale 1st position
●Read accidentals ●Play IMA rasgueados with simple
●Read dotted rhythms chords (G, G7, Am, Em, E, C, Dm)
●Identify key signatures C ,G, and D major ●Play a 5 note C major scale
●Play music involving left hand bass
notes by rote
3. ●Continue to play all notes with free
stroke P, I & M “fixed fingers”
3.
●Read in first position on strings 1,2 & 3 ●Alternate I & M
● Incorporate accidentals, dotted rhythms ●Right Hand string crossing
all note values
●Read sixteenth notes
4.
●Read on strings 4-6 ●Play a two-octave G major scale
●Play a one-octave C major scale
●Play A finger in chords
●Play block chords using PIMA
● Play one-octave D major scale

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5.
●Read fluently on all strings in first position ●Develop speed in scales and IM
●Read multiple rhythmic combinations alternation
●Read multiple keys ● Play simple slurs
●Sight read block chords ●Play multilinear music
●Finger new pieces
6.
● Identify all common key signatures ●Play with timed, prepared extensions in
major and minor up to 4 sharps and 3 flats the right hand
●Play arpeggios PIM, PIMA
7.
●Play arpeggios with alternation PIMI,
PIAI, PIMIAI (Giuliani RH Studies)
●Play ascending/descending slurs
●Play using bars in the left hand
●Develop speed in scale and arpeggio
playing
8.
●Read in 2nd, 3rd, and 5th positions ●Combined Skills, Shifting
●Play rest stroke
9.
●Play and read in all positions ●Intermediate/Advanced Performance

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Characteristics exhibited by successful students at all stages of advancement
A successful student exiting this program at any level will be able to do the following:
1. Identify and/or define basic terms related to classical guitar and music notation
2. Sit with proper guitar position:
a. Place left leg on footstool
b. Lay guitar across left thigh
c. Relax shoulders
d. Raise the head of the guitar to eye level
e. Face guitar straight up and down, not angled back
f. Lay right arm on the edge of the guitar, just in front of elbow
g. Position right hand just behind the sound hole
h. Curve and relax right hand fingers
i. Straighten right wrist
j. Place left hand thumb up-and-down, not sideways, on back of neck
k. Straighten left wrist, not bowed in or out
l. Situate left hand so that knuckles are parallel to strings
3. Play with efficient, accurate right hand free strokes from the big knuckle
4. Play with consistent, robust tone
5. Place left hand fingers accurately and efficiently on the fret board
6. Connect musical phrases (legato)
7. Perform level-appropriate repertoire accurately
8. Observe and execute all dynamic/style indications
9. Sight-read with accurate rhythm, pitches, and dynamics
10. Exhibit proper, efficient rehearsal techniques
11. Display appropriate performance etiquette
12. Identify musical forms, styles, and periods
13. Select repertoire for themselves

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Classroom set up diagram
Part 2
Part 1 Part 3
Conductor
Above is the setup for the guitar classroom. Specifically, this is the
arrangement for a piece in three parts. This is how the classroom will look for most
of the repertoire at all levels of the curriculum. The students are organized just like
an orchestra or choir so that each student can see the conductor and vice versa. It is
important that the teacher/conductor can see and hear every student in the class
individually as he or she will be constantly evaluating each child’s progress while
on the podium.
In this arrangement, parts can be moved around to different sections with
ease. For the piece shown, part one is to the left of the conductor. However, part
one might be to the right of the conductor in another.
It is also important to note that while the teacher/conductor has a designated
podium or space, he or she will move around the classroom freely and often to help
individuals or listen from different places.

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Performance checklist for evaluating student performances
At every point of assessment from the first weeks to graduation, the students should perform all
exercises, scales, ensemble pieces, and solo pieces meeting each of the following requirements.
YES NO
1. Playing position
A) Feet flat on footstool and ground
B) Guitar neck elevated to 45º angle to the floor
C) Shoulders are relaxed
D) Face of guitar is straight up and down, not angled back
E) Right arm meets the guitar just in front of the elbow
F) Right hand is situated just behind the rosette
G) Right wrist is straight, not angled
H) Left wrist is flat, not concave or convex
I) Left thumb is vertical, not sideways on back of neck
2. Right and left hand technique

A) Right hand IM & A move inside hand, not up/away
B) IM & A strokes move in with 3 knuckles, including big knuckle
C) IM & A move through strings at an angle, not perpendicular
D) Left hand fingers are always placed on the tips
E) Left hand palm is always parallel to the neck of guitar
F) Left hand palm does not touch back of neck
3. Plays with musicality and expressiveness

A) Performs all expressive markings on the page
B) Plays with a consistent, robust tone
C) Connects melodic lines by timing both hands (legato)
D) Performs piece without talking, laughing, excessive movement

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Detailed explanation of skill levels with specific sequencing suggestions
Skill Level 1 (first six-week grading period for classes that meet daily)
Objectives: Students will

● Identify all parts of the guitar and associated equipment
● Sit in proper playing position including right and left hand position
● Identify left hand numbers and right hand letters
● Identify and recognize fundamental terms: quarter, half, and eighth notes/ time
signature ledger lines, staff, clef
● Read all open strings
● Play free stroke with P, I and M fingers using good technique
● Play numerous pieces utilizing above skills
● Learn pieces involving left hand fingers by rote
Procedure: (Recommended sequencing of Skill Level 1) Students will

● Sit in three groups evenly distributed
● Identify parts of the guitar from visual aid
● Sit in proper playing position
a. Left foot elevated on footstool
b. Right foot flat on floor
c. Guitar placed on left leg so that neck is 45º to floor
d. Seated with upright posture on front edge of chair
● Place right hand in appropriate playing position
a. Place right hand just behind the sound hole
b. Maintain straight wrist
c. Lay the right arm on the guitar above or just behind the bridge
d. Contact the guitar just in front of the elbow in the right arm
e. Relax the right shoulder
● Identify right hand letter names P,I,M,A
● Repeat playing position including right hand
● Play free stroke thumbs on string 3
a. All knuckles move together
b. Tip of thumb proceeds through string, thumbs rests on outside of I tip joint
● Play free stroke I fingers on string 2
a. I moves inside the hand and past the thumb
b. All knuckles move together to push I through string and inside hand
c. The big knuckle pushes inside, it does not pull up
d. I travels at an oblique angle to the string following the line of the arm,
it does not push through the string perpendicularly
● Play piece with I on string 2 and P on string 3 by imitation or rote
● Place left hand in appropriate playing position
a. Place left thumb vertically on the neck close the head
b. Maintain straight and flat left wrist
c. Curve fingers over to the fret board so that the tips touch the strings
d. Do not touch palm of hand to back of neck

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● Identify left hand numbers 1,2,3,4

● Play “Shifting Exercise”
● Play Spy Tune or equivalent using left hand
● Learn definition and function of notation on the written page
(As necessary to play each subsequent piece)
● Sight Reading from GuitarCurriculum.com Level 1 sight-reading
● Read open G and B strings using quarter note value, then half, then alternating
● Read pieces previously learned by rote using P, I on 2 and 3
● Play free stroke M finger moving from the big knuckle with A and pinky
● Play P, I, M exercises single stroke exercises
● Read open E string using M
● Play pieces and sight reading using P, I, and M that also include rests
● Read open D, A and E string
● Play pieces that incorporate all strings, PIM, continuing to play left hand by rote

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Sequence 1/1-Week 1 Recommendations
The sequencing for GuitarCurriculum.com recommended here is based on a class that meets five
times per week for a one-hour period. Many schools have varying class schedules such as a two-
hour class period twice a week. It is important to note that any class that meets on a schedule
other than the five classes per week model will move through this sequence document
differently. For any class that this applies to, pay close attention to which skills this curriculum
devotes more time and adjust lesson plans as necessary. Also, note that the following are only
recommendations and that the classroom teacher will certainly adjust his or her lessons to meet
the needs of the students.
The First Day of Instruction
The class must be able to play something by the end of the first day of instruction (which may be
the second day of class if there are orientation items to accomplish on day one like assigning
guitars, attendance, etc.). This means the very first thing they need, is to be assigned a place to
sit. Next, introduce guitar anatomy with a visual aid so that you can reference the parts as you go
through playing position. The students will then learn set up, practice set up, right hand position,
practice right hand position, P (right hand thumb) & I (right hand index finger) free stroke,
practice P & I with an exercise, and play a short piece with P & I only, on open strings – rote or
read. This piece can be repeated loud and soft. The end-of-week exam requirements should be
explained at this time.
No extraneous information is needed! (e.g. complete notational system, time signature, extra
notes, etc.)
At this point concepts communicated include:

Materials – guitar, footstool, strings (numbered 1-6 starting with 1 as closest to ground).
Anatomy – body, neck, head, fret board, strings, sound hole, soundboard, tuners, and rosette
Sitting/guitar Position – Sit up straight, left foot on footstool, guitar 45º to ground on left leg,
right hand positioned over base of sound hole with P on string 3, I on string 2, M on String 1 and
A (right hand ring finger) curved in the air alongside of pinky – not touching the face of the
guitar! Right arm contacts edge of guitar just in front of elbow. Right hand wrist “up” so that
plane of the back of the hand is parallel to the plane of the face of the guitar. No lean to pinky or
thumb side so, again, plane of the back of the hand is parallel to the plane of the face of the
guitar. Right hand wrist is straight, not angled down (see “additional comments”, below).
Left Hand – Sit up straight, guitar neck at 45 degrees to ground, thumb going “up and down” in
center or upper 1/3 of back of neck. Left Hand knuckles parallel to strings of guitar – especially
the pinky side of hand. Place on fingertips right behind the fret. Left wrist flat, not in or out,
very important! Left Hand Numbers - 1234
Right Hand Letters – PIMA for right hand.
Right Hand Strokes – P goes straight down through string 4 and comes to rest against tip-joint
of I. Only a small amount of finger is needed under string. I goes through string 3 and travels
inside hand past P. I moves through the string at an angle (sideways), not perpendicularly
through the string, thanks to the straight wrist. I traveling past P (and inside hand), and moving

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“sideways” (not perpendicular) through the string, are probably the most important concepts
taught in the first semester of study. Focus on stroke and TONE.
Performance – Learn by imitating the instructor, the proper sequence and speed of string 3 and
4 combinations to play their first piece (I on 3 only, P on 4 only). They will memorize it, and
repeat it as a large group, in sections, or even as individuals.
Musical Expression – The piece can be repeated with emotionally tagged dynamic and speed
indications. For example, slow and soft can be “Sad”, loud and quick might be “Happy”, or
lengthier descriptors can be used like “plodding through mud”, “walk in the park”, “running a
race”, etc.
Recommended Repertoire:
Spy Tune or Blue Magic (by rote) Technical Exercise 1
The Second Day of Instruction
Review of concepts from day one with same and also new repertoire.
Spy Tune or Blue Magic, Technical Exercises 1-2
The Third Day of Instruction
After beginning class with exercises and repertoire from previous days and a review of major
technical and expressive concepts, introduce Left Hand.
Exercises 1-3, Spy Tune, Blue Magic, Saw Dodge Blues
*Note: With levels 1 and 2, all sections learn all voices of all pieces and then rotate which
section plays which part – this all applies to sight reading, so each individual sight reading
example really serves as three examples.
The Fourth and Fifth Days of Instruction
No new material. Concentration on ensemble performance, different groups playing different

parts of ensemble pieces. Review of technical and expressive concepts, direct wide-ranging
dynamics and tempos clearly. Use plenty of individual or small group performances, review
exam requirements.

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Quiz 1/1
Groups perform pieces involving fixed finger P and I strokes and limited use of Left Hand, all by
rote. Pieces should be directed to be performed with:
1) Perfect set up
2) Expressive indications
And will be graded according to the Performance checklist
Additional Comments:
Week 1 is primarily about positioning and establishing good P and I free stroke. Though
students should be provided notated music for the repertoire and exercises they are asked to do,
they are, at this point, taught mainly by rote so that their primary focus can be on their hands and
connecting the sounds they are making with the motions they are making. Exercises are given to
apply the right hand and left hand concepts. Make a performance out of getting in good position.
Have students come to the front of the class to display good position and have other students
comment on what they see.
The two most common problems in establishing right hand set up and basic free strokes are:
1) The I finger pulls up and away from the guitar instead of pushes through the string, past the
thumb and under hand. This is usually a product of the wrist being too far back or too low
because if the wrist is low or back, a finger pushing “through” will encounter extra strings
leading students to alter their stroke up and away.
2) The right wrist becomes angled down instead of straight allowing the fingers travel
perpendicularly through the strings instead of obliquely (approximately 45 degree angle). The
wrist must be straight and fingers must travel oblique or “sideways” through the string!
Ultimately a straight wrist allows students to create better, fuller sound (with nails, especially)
and play with less tension. Observation of all of the greatest current concert artists shows that a
straight right wrist is the model for success. One of the main reasons most students angle their
wrists is that they unconsciously seek to minimize resistance to the string by traveling
perpendicularly instead of obliquely through the string. This incorrect impulse is strongest in
students who A) try to play too loud (hard), or, B) are using too much finger under the string, or,
C) both. Students should be reminded to play “softly” or “easily” if they show these problems
and must be constantly corrected and reminded.
3) The right wrist of many students will “collapse” and lay almost flat to the soundboard of the
guitar. It is important that the wrist stay arched to create space for the big-knuckle stroke.
It should be communicated from the outset that first semester exam grades are based largely on
perfection of right hand set up. Tone is extremely important and an indicator of correct right
hand position. Cue the students to execute great tone at all times. The teacher must be able to
model good and bad tone.

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Sequence 1/2-Week 2
It is recommended that the first day of instruction of week 2 is spent playing the guitar and
reviewing material from week 1. Students will then begin to read short pieces involving open G
and B strings. Here, they will learn about the fundamentals of reading including basic rhythm,
note value, the staff, time signature and clef. Only introduce terms and concepts necessary to
read the pieces they are playing.
At this point new concepts communicated include:

Reading G and B – Concepts of notation and lettering will be applied to the guitar only with G
and b – open strings 3 and 2 in week 2. B will be played with I while G will be played with P –
thereby working directly from technical strength developed in week 1. It is reasonable to expect
that after reading and saying letters of repertoire pieces and sight reading exercises, and counting
and clapping rhythms, that students will have achieved relative fluency reading G and D in
quarter notes and eighth notes by the end of week 2.
Shifting Exercise – See “Technical Exercise Number 4”. Students place a left hand finger on
string three fret 1 and play once with right hand thumb. Shifting up and down one fret at a time
they learn to focus on finding and placing right behind the fret with the fingertip repeatedly with
controlled complexity.
Maintain Technical and Musical Focus – This is just a reminder. Everything taught is
cumulative. It is extremely important in level 1 that students are constantly reminded to keep the
right wrist up, forward, and straight, to keep the finger up and over the strings and curved and
relaxed, that I moves sideways through the string, past P, and into the hand, and that only a little
bit of finger is required. Even if the exercise involves reading G and B in various simple
rhythms, the instructor must maintain at least half of his or her focus on these important technical
issues. Students should also be directed to perform beautifully, rhythmically, and with all
written dynamics. These musical directives, rather than making things confusing or
overwhelming, often make the music more interesting and the repetitions less tedious. See
“Additional Comments” below.
Blue Magic, Saw Dodge
Spy Tune – All voices
Exercise 1-4
Level 1 Sight-reading exercises
Quiz
The written portion of the Quiz 1/2 will precisely resemble the worksheet completed earlier in
the week and involve identification of notational system elements, notes, rhythms, etc. Right and
Left Hand ID can be included as well (PIMA, 1234) along with guitar anatomy (strings, neck,
bridge, frets, etc.).

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The performance portion will include group and individual performances of fixed finger P and I
repertoire pieces and sight reading examples, group performances of exercise 4 and an ensemble
performance of rote material.
Pieces should be directed to be performed with:
1) Perfect set up
And will be graded according to the performance checklist
The primary goal of week 2 is to maintain the excellent technical set up accomplished in week 1
while providing conceptual framework and a small amount of complexity to expand the students’
application of their technical abilities. At the same time, the tasks are simple enough that there is
plenty of room for discussion of dynamics, and accurate execution of those dynamics.
It should be noted that a tremendous amount of repetition of this relatively simple material is
required and there are plenty of ways to make those repetitions interesting for the students, for
example: (instructor has taught class to perform 2 lines of music involving G and B open with
quarter and eighth note rhythms and instructor accompaniments. Some students have it, some do
not, the instructor wishes to repeat the 2 lines 20 times and says, for example), “Okay everyone
repeat these two lines: forte, piano, slow and loud, fast and furious, slow and thinking only about
your I finger traveling past your thumb, watching your right hand and keeping up and over the
strings, sitting up tall!, line 1 only, line 2 only, section ones only – play loud, section twos – play
soft, everyone together”, etc. (between each repetition there is room for a quick individual
comment or group praise, etc.).
Sequence 1/3-Week 3
New in the third week is the introduction of the M stroke. If the hand position is well established
and the I stroke is generally understood, then learning the M stroke usually provides little
challenge. Students should be reminded that, thanks to a straight and high right wrist, I travels
sideways through the string, past P and under the hand and M does the same. Letters, rhythms
and notational concepts can be reviewed with the addition of tempo indications, crescendo and
decrescendo markings. This week can also include the introduction of a new or extended rote
piece. Rests are introduced.
New concepts communicated include:

M Stroke – Use “Singles P, I, M” (Technical exercise 5). When M is played, be sure that I and
P are fixed and that A and pinky move with M – three fingers moving together from the big
knuckle inside the hand and past I. M travels sideways through the string, past P, and under the
hand moving primarily from the big knuckle.
Crescendo, Tempo Markings –It is extremely important that they be applied in all music and
sight-reading examples also! The use of decrescendo at the end of most pieces of phrases is
particularly effective, most students are able to recognize that getting softer at the end of a piece
of music provides a sense of finality.
New Note E – Open string 1 must be played with M. Students should be sight-reading G and B
open and saying the letters while they play. P plays G, I plays B, and M plays E. As always, the

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instructor must maintain focus on excellent technique, and convincing musicality even as
students are learning to read new material.
Rests – Begin assigning sight-reading examples with rests.
Spy Tune, Blue Magic, Saw Dodge Blues,
Exercise 4
New:
Exercise 5
Minor Waltz, Meditation no. 1, Respiration, (optional with teacher accompaniment: Night Ride,
Waterfall)
Sight-reading with the note B
Quiz
the week and involve identification of notational system elements, notes, rhythms, etc. Right and
Left Hand ID can be included as well (PIMA, 1234) along with guitar anatomy (strings, neck,
bridge, frets, etc.) and the new expressive and tempo concepts.
The performance portion will include group and individual performances of fixed finger P, I and
M repertoire pieces and sight reading examples, group performances of exercise 4 and an
ensemble performance of rote material.
1) Perfect set up
And will be graded according to the performance checklist
Sequence 1/4-Week 4
In the fourth week of instruction, students learn to read the remaining open strings, which require
the explanation of ledger lines. Students continue study of basic musical concepts and
incorporate ledger lines for which students will need to “count” down lines and spaces to
determine note names. Students will be taught quarter note and eighth note rests which will also
be incorporated into repertoire and must be conceptually reinforced with counting and clapping
or tapping.
At this point concepts communicated include:

Open Strings Low and High E and Low A – These should be relatively easily acquired.
Students can use sight-reading examples to learn these notes. They should always say these
notes while they play them in groups. Sight reading examples never stray beyond three adjacent
strings allowing students to set up P, I, and M and execute proper strokes. Sight reading and
repertoire examples contained on the bass strings (4, 5 and 6) can be executed entirely with the
thumb, now, leaving I and M fixed on strings 2 and 3.
Ledger Lines – A simple enough concept to introduce. However, this is a perfect opportunity to
underscore the “ladder” or “step” arrangement of music. That is: if a note goes up from one line
to the space above it, or one space to the line above it, then it is called one letter higher in the
alphabet. The same is true descending. With this concept, students can “figure out” the notes of

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the ledger lines above or below the staff by “counting” up or down from the staff with which, at
this point they are familiar. Once again, they will not be able to read any of these notes on the
guitar (except for the open strings 5 and 6, which they will quickly memorize).
Rests – Rests, again, are simple to explain but must be practiced with ample counting and
clapping or tapping. Repertoire and sight-reading examples will incorporate rests and should all
be counted out loud, clapped or tapped, and played while counting.
Minor Waltz Spy Tune, Blue Magic, Meditation no. 1, Respiration,(optional with teacher
accompaniment: Night Ride, Waterfall)
Exercises 1-5
Sight Reading
New:
Night Club
Quiz
the week and involve identification of notational system elements, notes, rhythms, Right and Left
Hand ID, guitar anatomy, expressive and tempo concepts, rests and ledger lines.
The performance portion will include group and individual performances of fixed finger P, I and
M repertoire pieces and sight reading examples, group performances of exercise 4 and an
ensemble performance of rote material.
1) Perfect set up
And will be graded according to performance checklist
With the emphasis on counting, clapping and tapping rhythms and saying letters, the division of
the class into three sections can become extremely useful. For example, while section one plays
a sight reading example, section two can count or say letters, while section three claps or taps.
This is a good week to identify certain students in need of extra attention, talk to them
individually, address their parents, and remind them that the mid-term exam is approaching. If
the students are having serious issues it will almost always be a lack of attention to right-hand
set-up and stroke execution. If this is the case, they must understand that they cannot pass the
mid-term exam unless their I and M strokes go through the string “sideways”, moving primarily
from the big knuckle, past P and inside the hand because their wrists are high and straight and
their fingers are “up and over” the strings, curved and relaxed. None of this should be news to
them, of course, because by now they should have gotten plenty of feedback from previous
classes and exams, but bringing the parents in may be very helpful.

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Sequence 1/5-Week 5
Week five of instruction is somewhat flexible. Students will be asked to reinforce all concepts
and skills learned thus far through individual and small group performance.

Sectional Rehearsal – This will be the first time you ask these students to self-govern.
Designate a section leader (the section leaders can change) and give them specific goals. One
possibility is to have a student lead the group in various warm up activities (exercise 4 and 5),
then break the section into 3 even smaller sections in which they can practice playing some of
their ensemble repertoire. Have the small groups perform small sections of music for the class
and invite comments from the other students. Emphasize musicality, rhythmic accuracy, absolute
simultaneity of players on the same part, dramatic dynamic changes, etc. Students may also quiz
each other on the mid-term exam using their Study Guides. The more specific your directives
are in these sectionals the better! For example: instruct each student to ask the student to their
right 2 questions, after which a designee will lead the warm ups, after which another designee
will lead the sectional repertoire rehearsal to prepare for the performance or competition.
Recommended Repertoire
Night Club, Minor Waltz, Spy Tune, Blue Magic, Meditation no. 1, Respiration,(optional with
teacher accompaniment: Night Ride, Waterfall)
New:
Quanah
Quiz
Quiz 1/5 will focus on the cumulative display of all knowledge and skills to this point and will
reflect the worksheet given to the class at the beginning of the week
Sequence 1/6-Week 6
Week six of instruction is also flexible. The last day(s) of week six is the midterm performance
exam (performance exam 5) which, because it involves performances by trios and peer
assessment, will probably require one to two days to complete. Every student should have at
least one opportunity to play in front of the class in trio format in the days leading up to the
exam. The preceding days therefore are used as trio performance workshops, and rehearsal
opportunities in large ensemble or, again, in sectionals with individual instruction. Because the
exam involves small group performances and a large group performance with an outside
evaluator, students must learn basics of performance etiquette. Trios will be chosen at random
on the day of the exam, and will be asked to sight read an example together (instructor will
“count off”), and perform one exercise and one repertoire selection, each member to a part.

Performance Etiquette – Absolute silence before playing. Individuals in the trios should wait
before playing, take a moment to think about what they are about to do, position hands precisely
before playing, complete the piece convincingly by staying “in character” until several seconds
following the last sound, and standing and bowing together at applause. At this level, trios will
be started by counting from the instructor.

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Skill Level 2 (second six-week grading period)
Students entering the second six weeks of study, should already have mastery of open
string reading, be fluent in reading basic rhythms including whole, half, quarter and eighth notes
and rests, and demonstrate excellent single P, I and M strokes as well as correct left hand set up
during performance of rote material involving the left hand.
All exercises and music at this level, with the exception of the rasgueado/chord playing, will be
played with the right hand fingers assigned to strings as follows: M on 1, I on 2 and P on 3.

● Read notes in first position on strings 1, 2, and 3 with the left hand
● Read accidentals
● Identify key signatures C major, G major, D major
● Play a 5-note C major scale and 1-octave G major scale in first position
● Play IMA (together) rasqueados with P planted on string 4 to build extensors
● Play simple chords formed on strings1-3 (C, G, G7, Am, A, Em, E, Dm)
● Read dotted rhythms
Procedure: (Recommended sequencing for Level 2) Students will
● Review all setup and PIM free stroke
● Identify first position natural notes on strings 1 and 2 (B, C, D)(E, F, G)
● Play B, C, D using I finger and E, F, G using M finger (Saying left hand finger #)
● Play 5-note C major scale using same right hand fingering
● Sight read incorporating new notes and left hand
● Play rasgueado chords on strings 1-3 C, G, G7, Am, Em, E, Dm
● Play piece that includes C major harmony, reading left hand, rote bass lines, rasqueado
● Play open 3rd string and the new note A with thumb
● Identify and play F# on string 1 with M
● Play a one octave G major scale on strings 1-3 in first position
● Play other accidentals
● Identify the G major key signature
● Play a new piece using G major harmony, G scale, rasqueado chords, bass by rote
● Identify the note C# on string 2
● Identify D major key signature
● Identify dotted quarter notes
● Sight read in D major with dotted rhythms
● Play piece using D major harmony, rasqueado chords, bass by rote, dotted rhythm

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Sequence 2/1-Week 1 (Second 6 Weeks)
In the seventh week of instruction, students learn to read notes on strings 1 and 2 (B, C, D, E, F
and G). Students will play all string 1 notes with M and all string 2 notes with I. Use worksheet
#6 for introduction and study of these notes and where to play them on the guitar. Students learn
and memorize the five-note C major scale and should be encouraged to watch their hands for
accuracy (perform the scale one time watching left hand, then one time watching right hand, etc.)
Sight reading examples and new repertoire choices should include these new notes and when
learning the new selections students should be encouraged NOT to watch their hands but instead
to keep their eyes on the music. Pass out Reference Sheet #1 (“Basic Scales”, Appendix 5) for
students to retain in their binders.
New concepts:
New Notes on Strings 1 and 2 – Students should be told the new notes, asked to play them one
at a time as they are introduced. Notes on fret 1 should be played using the left hand first finger,
notes on fret three should be played using the left hand pinky (4th finger). Students should play
and say the notes both from low to high and high to low. It is helpful to point out that the notes
on string 2 (B, C, D) are on the same relative frets as the notes on string 1 (E, F, G). As notes are
introduced students can be encouraged to watch their hands, particularly their left hands, to be
sure they are placing on the tips of their fingers, and immediately behind the fret.
C Scale (Five notes) – Once the new notes are introduced, the concept of a scale (as stepwise
motion) can be introduced and the five-note C scale can be taught. Students should be
encouraged to watch one of their hands while performing the scale. They can watch their left
hand to ensure proper placement and accuracy, or their right hand to review proper strokes as
introduced in the first 6 weeks. The scale can form part of the class warm up routine.
Note Reading on Strings 1 and 2 - An important distinction should be made about watching
hands. Students should watch their hands when doing technical practice such as scale playing,
but when reading new music they should watch the music exclusively. They should be
instructed to “set up” their hands so that the right hand fingers are on the proper strings and the
left hand fingers are near the correct strings and frets. But after set up, their eyes should not
leave the music. Looking back and forth from the page to the hands is poor practice and causes
confusion and slow learning.
Old: One piece carried over from the first six weeks.
New: Tango, Neptune Run
Quiz
the week and involve the new notes on Strings 1 and 2 and the C Scale.
The performance portion will include group and individual performances of the new tune and
sight reading examples on strings 1 and 2. Use Standard Grading Criteria and Directives (see
level 1).

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This is the first time the class will have been asked to read material involving both hands. The
whole class should be carefully directed to read one measure of material at a time, say and play,
clap and count, etc. until everyone is comfortable with the notes and rhythms. This is the ideal
time to introduce the idea that practicing small amounts of material with great success is superior
to any other approach.
Preparing the Left Hand for Reading Music

There are a number of various obstacles that a teacher will face when combining the skills of
reading music and playing with a technically proficient left hand. Many teachers jump to the
conclusion that the student is just having trouble reading music when this is usually not the case.
Here are a couple of techniques to better prepare your students to read.
1. Introduce new notes through fixed-finger, single string warm ups.

For example, only teach the notes B, C, and D on the second string in one sitting.
The student should only use m-finger. This simplifies the right hand so that the
student can concentrate on the page.
2. Preface all reading with the execution and repetition of good, open
string, right hand strokes. You don’t want to be addressing
tone or execution issues when reading. This cuts down on the
discouragement factor
3. Take many different approaches to reading the page before playing.
Use techniques like speaking the note names both in and out
of rhythm. Have the student speak the fret or finger numbers
as well. Also have them play the left hand off of the instrument
tapping the appropriate finger to the thumb in rhythm. Have the
student play only left hand on the instrument as well (“Shadow Fingering”).
*This can be a very frustrating experience for the student and teacher if not approached with
the utmost care. Remember to always sequence these tasks from easiest to hardest and ask for
performances of short sections of music at a time. This can even mean two notes.
Sequence 2/2-Week 2
In the eighth week of instruction, students solidify their reading capabilities on strings 1 and 2 by
reviewing material from the previous week as well as learning new repertoire and sight-reading
new examples that utilize notes on strings 1 and 2. Additional voices should be added to
harmonize the new pieces including rote bass lines and basic chords on only three strings
performed with right-hand rasgueado. Sixteenth notes and dotted rhythms are introduced in
week eight.
New concepts:
Chords and Rasgueado – Why chords? While standard chords are not generally taught as part
of core classical guitar curriculum, they are used so frequently in all other styles of guitar playing
that it is important that students are familiarized with them. Knowing basic chords is also an

21
early step to understanding the concept of harmony and accompaniment. These chords are
“mini” three string versions of standard chords that will be easily attainable for students
beginning level 2. Why Rasgueado, and how? For the purpose of these early accompaniments,
plant P on string four and simply extend I, M and A together through the strings using the backs
of the fingernails to activate the strings. This alternative to “strumming” is used because it will
not change the right hand position that has been carefully developed up until this point. Planting
P on string 4 will ensure that only strings 1-3 are played.
Dotted Rhythms – Be sure to use plenty of sight-reading examples with counting and clapping
in groups, to practice these new rhythms. The new repertoire piece for week eight may also use
these new rhythms.
Old: Tango, Neptune Run
Carry-over from first 6 weeks
2-string, C major
New: Sight-reading with dotted rhythm, El Chinati
Quiz
the week and involve dotted rhythms, and review notes on strings 1-2. Use Standard Grading
Criteria and Directives (see level 1).
It is important to stress the technical concepts introduced in Level 1 even as new material is
introduced. It is equally important to emphasize beautiful and clear playing, and playing with
expressive indications, even in the case of rasgueado accompaniments.
Sequence 2/3-Week 3
In the ninth week of instruction, students learn the note A on string three. Students are
introduced to the concept of sharps and are taught to play the G major scale in its entirety across
three strings in first position (P on 3, I on 2 and M on 1). “Key Signature” and “accidentals” as
well as pertinent rules are introduced.
New concepts:
Sharps, Key Signature, Accidentals
Old:
Tango, Neptune Run, El Chinati,
Level 2 Pieces only, (drop level 1 piece, optional).
New:
Kasaya
Sight Reading

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Quiz
the week and involve sharps, key signatures, etc.
The performance portion will include group and individual performances of all Level 2 pieces
and sight reading examples on three strings with key signatures and sharps. Use Standard
Grading Criteria and Directives (see Level 1).
Sequence 2/4-Week 4
Continued work on all new and old pieces, C and G scales
New piece in D major
Examination of Key Signatures C, G and D, dotted rhythms,
In the tenth week of instruction, students learn their last major repertoire selection of the
semester, which should be in D Major. Though this is not an absolute requirement. With
knowledge of C, G and D it will be easy to demonstrate and teach the principle of the circle of
fifths – especially on the sharps side. While students will not be learning to read flats regularly
in the first year, or in keys with more than 3 sharps, the concept is now easily introduced.
New concepts:
D major
Old: Tango, Neptune Run, El Chinati, and Kasaya
New:
Ode to Joy, other Level 2 selections from the Music Library
Quiz
the week and involve key signatures, scales and dotted rhythm.
The performance portion will include group and individual performances of final Level 2 sight-
reading examples and all repertoire selections. Use Standard Grading Criteria and Directives
(see Level 1).
Sequence 2/5-Week 5
Week eleven is flexible. Rehearse in large ensemble and in sectionals with designated section
leaders. Address individual needs always.

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Sequence 2/6-Week 6
Week twelve should be strictly devoted to large ensemble rehearsal of pieces in their entirety
with focus on ensemble issues like beginning and ending pieces. Students should be looking at
the conductor much of the time at this point and responding to dynamic conducting cues. Create
the performance situation as closely as possible in the classroom during week twelve. There will
be no written quiz this week.
The Final Weeks of First Semester

The main task in the final weeks of the semester is preparation for the public recital. This
means establishing which groups will play which parts and who – if anyone – will perform in
solo or trio format. This is an opportunity once again for sectional rehearsal and peer evaluation
with room for individual attention where needed. As far as the programs (format, layout,
printing etc.) one fun idea may be to hold a class competition for a line drawing that will become
the cover of this semester’s program.
Publicizing the recital is another important task that the whole class should be involved in.
Class members can create posters to place around school, and can brainstorm for ideas about
how to “get the word out” (school announcements, even local media/TV, the sky’s the limit!).
Assign duties! Understanding the publicity element of the fine arts world is extremely
important, and this is an excellent opportunity to begin teaching that lesson.
Planning for presentation of the recital is another extremely important task: Ushering, MC,
refreshments, stage management, behavior during concert (especially when NOT on stage). This
may require some parent involvement as well. But it is important that the students understand
that it is their responsibility to make the performance look good, sound good, and run smoothly.
Understanding presentation of the fine arts is extremely important, and this is an excellent
opportunity to begin teaching that lesson. Some groups may opt to share a recital with the choir,
band or orchestra and this is a great way to build the music community in the school and may
help the program to be appropriate length (30-45 min.).
Review the important lessons from the semester. Once the work is largely over, possibly
following the recital, it is important to take time to reflect on what the key elements were. The
main skills go all the way back to the very first week about set up and strokes. This will be very
important before students leave on break. It will help them to appreciate what they have learned,
help them to remember over break. Make sure that the performance is video taped so that the
students and parents can both enjoy the experience again and learn from it.

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Skill Level 3 (Second Semester, first six weeks)
Skill Level 3 concentrates solely on introducing and mastering the technique of Right Hand IM
alternation and Right Hand String Crossing. No new rhythms or music theory concepts are
introduced. The sixteenth note is introduced here because it is natural for the player to move
faster when alternating. This important step must be made carefully because in order to alternate
fingers and move the hand across the strings the student must leave behind the fixed finger
positioning which, until now, has formed the basis of their Right Hand Technical stability.

Alternate I M with good tone and a relaxed, big knuckle free stroke
String cross keeping the right hand in good position
Read sixteenth notes
Procedure: (Recommended sequencing for skill level 3) Students will

Alternate I and M from the fixed finger position (P on 4, I on 3, and M on 2)
Alternate I and M on string 3 (same string) with P fixed on 4
Move thumb down to string 2 and alternate IM on string 1(string crossing)
Move thumb to string 3 and alternate IM on string 2
Continue moving the thumb to the next string and alternating on adjacent string
Alternate 5 note C scale and one octave G scale (with sixteenth notes)
Play pieces that incorporate IM alternation and string crossing in all parts
What is IM alternation? IM alternation is the usage of the I (index) and M (Middle) fingers
alternately to play successive notes. Most scalar and melodic playing on the guitar is achieved in
this manner, though at advanced levels of play fingerings can become much more complicated.
At skill level 3 the goal is to habituate alternation of I and M without losing the quality of strokes
carefully developed during levels 1 and 2.
What is String Crossing? String crossing involves moving the right hand so that it is
positioned ideally over a certain string allowing I and M access to that string without causing the
fingers to reach or contract in order to play. The goal in string crossing is to ensure that, once
again, the quality of stroke never degrades. Loss of stroke quality is a certainty if students are
allowed to “reach” for strings rather than move the hand and align the fingers properly over the
string.
Imagine playing string 3 four times alternating fingers I and M. Imagine that the music then
requires playing string 1 four times with I and M. In order to play string 1, the hand must move
from its position over string 3 to be over string 1. This movement, activated from the right
shoulder and elbow, is called string crossing. Obviously it is much easier to begin string
crossing slowly and carefully. For that reason string crossing will be introduced in the context of
scales and pieces with multiple repeated notes on a single string before crossing up or down to
the next string. By the end of level 3, however, students should be able to string-cross fluidly.
Pitfalls: Most students acquire alternation quite easily. Students can be asked to prepare in their
normal fixed-finger set up with, for example, P on 4, I on 3 and M on 2. They can then be

25
instructed to play I on string 3 10 times and make sure they are moving from the big knuckle,
that I is traveling past P, that they are using “only a little bit” of finger and that they are going
through the string “sideways”. At that point they can be asked to remove M from string 2 and
leave only P and I fixed on the strings. Then they can be asked to play I “the way you just
practiced it” one time, followed by the M finger playing the same string (string 3). In effect
“switching fingers” to play the same string repeatedly. This process, aided by instructor
modeling, is generally easily adopted. The goal, of course, is to teach alternation of I and M
without compromising the quality of the strokes in any way.
The trouble begins when it comes time to then play notes on a different string. The most
common problem is that students will not cross at all and instead “reach” for lower strings. This
is most common only, however, in students who have never been asked to string cross in the first
place and for whom the concept is a foreign one altogether. Assuming that in this class, students
will be introduced to string crossing immediately following IM alternation, the most common
problem will likely be crossing “from the wrist” rather than from the elbow and shoulder. Recall
that a basic tenet of good right hand technique is a straight right hand wrist and fingers that pull
across the strings “sideways”. Students who cross “from the wrist” drop their hands to lower
strings from the wrist causing the wrist to bend and causing the fingers to begin pushing through
the string perpendicularly rather than “sideways”. This is a serious problem that must be
constantly reminded against.
If students “reach” for strings either because they are not crossing, or because they’re crossing
only from the wrist, then they are no longer positioned over the strings properly to allow them
proper flexion from the big knuckle. This is a serious, common problem, which is extremely
difficult to undo. It is for this reason that all of level 3, the first six-week period of the second
semester of study, is devoted to this subject with no other material being introduced.
How to Teach IM alternation: As mentioned above, IM alternation is quickly achieved by

most students, especially if their basic I and M strokes from a fixed-finger position have been
mastered. Every day of Level 3 study should begin in a fixed finger position with instructions
position the right hand properly, push I past P, push through the string “sideways”, push through
the strings and not to pull up and away from the guitar, etc. When first introducing alternation,
complete the fixed finger exercise, then: (taken from “pitfalls” above)
…they can be asked to remove M from string 2 and leave only P and I fixed on the
strings. Then they can be asked to play I “the way you just practiced it” one time,
followed by the M finger playing the same string (string 3). In effect “switching fingers”
to play the same string repeatedly. This process, aided by instructor modeling, is
generally easily adopted. The goal is, of course, to teach alternation of I and M without
compromising the quality of the strokes in any way.
At that point it is a great idea to have them drop their right hands to their sides, reposition their
hands with I on 3 and P on 4, and alternate 10 times on string 3. This whole process of dropping,
replacing and playing can and should be done several times with room in between for general
comments and individual assistance.

26
How to teach String Crossing: If the above method is employed to teach IM alternation, then
the result will be IM alternation on string 3 with P fixed on string 4. The simplest way to
introduce the concept of string crossing is to “bring the thumb with the hand” to a lower string.
Have the class perform 4 notes with IM alternation on string 3. Then have them move the hand
down two strings so that P is fixed on string 2 and the fingers are poised to play string 1.
Alternating between string 3 (four times), and string 1 (four times) using P to ensure good
crossing is a successful way to introduce the concept. The key elements for success at the early
stages are:
Use P fixed on the adjacent string to ensure proper alignment
Play each string 4 or more times – no rapid string crossing!
Remind the class of proper stroke direction, wrist alignment, etc.
At first provide extra time for crossing
Once the large cross from string 3 to string 1 is mastered, include string 2 as well and proceed
with Exercise #6. Exercise #6 should form part of the daily warm-up routine for all level 3 and
level 4 study.
Level 3 Scales: The 5-note C and 8-note G scales should be carried over from Level 2 study.
But at level three they should be introduced with IM alternation by playing each note four times.
Once both scales are mastered at four times per note, add playing the scales only one time per
note. This is much more difficult because the rate of crossing increases as does the necessity for
perfect coordination between the two hands.
*One helpful tool in introducing IM alternating scales at one time per note, is to play the
notes on string 3 repeatedly, then do the same on string 2, and finally combine the two
strings. (example for G major scale)
C and G Scales played both 4 times per note, and 1 time per note, should also be used as part of a
daily warm up routine for level 3 and level 4 study.
Level 3 sight-reading: All Level 3 sight-reading is to be completed with IM alternation.
Level 3 Repertoire: Repertoire in Level 3 will be larger in scope than that which was
previously introduced. These pieces along with some from Level 4 will make up the recital
repertoire for the end-of-year recital. Level 3 melodic voices will be contained on strings 1-3
and be designed to develop IM alternation and string crossing while using key signatures,
accidentals, dynamic indications, etc.
• Some Level 3 pieces are Level 2 pieces that have different right hand fingering. For example,
Part 1 from Saltarello becomes a Level three part when the student alternates IM.
Sequence 3/1-Week 1 (New Semester)

Basic Alternation/String crossing sequence from above using one-octave G Major scale and short
excerpts from Level 2 melodies

27
Sequence 3/2-Week 2
Technical Exercise #6
Level 3 Exercise
Sight-reading
All Wound Up
Sequence 3/3-Week 3
Daily Scales and Level 3 Exercise
Sight Reading
El Noy De La Mare (Level 3 version), Saltarello
Sequence 3/4-Week 4
Level 3 Exercise
Exercise 6 & 7
Sight Reading Examples
Continued work on current Level 3 Repertoire
Sequence 3/5-Week 5
Level 3 Exercise
Exercises 6 and 7
Finish learning/rehearsing 2 Level 3 selections
Sight Reading
Sequence 3/6-Week 6
Prep for and administer Mid-term performance Exam

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Skill Level 4 (Second Semester, second six weeks)
Skill Level 4 completes the basic technical package for a beginning classical guitarist by
introducing the A finger in the context of black chords, teaching the notes on the remaining 3
strings (4-6) in first position, and teaching the basic chords in first position. Level 4 begins with
a 2-week intensive approach to reading notes on strings 4-6. At this point, students will be quite
fluent with the notes on strings 1-3, and also with the notational system in general, and acquiring
these new notes quickly is an attainable goal. With introductory knowledge of the new notes,
basic chords, chord theory, right hand PIMA “block” chords, repertoire becomes more complex
with melody, accompaniment, and middle/bass voice.
● Read all notes in first position including notes on strings 4, 5, 6
● Play one octave C and D major scales
● Play two octave G major scale
● Play block chords using PIMA
Procedure: (Recommended sequencing for Skill Level 4) Students will

● Play all new notes on strings 4-6 using a visual aid
● Play a one octave C major scale ascending and descending
● Identify D major key signature
● Play one octave D scale in first position
● Play two octave G scale in first position
● Play basic block chords using PIMA
Reading on Strings 4-6: When teaching new notes on strings 4-6 instruct the class to use P
only. This eliminates confusion that can arise from trying to learn new notes while at the same
time crossing to the bass strings on the guitar for the first time. The bulk of the learning of these
notes occurs in just two weeks of intensive study. Use lots of repetition, and playing and saying
with the whole class to acquire these new notes. It is helpful to point out that the notes on string
6 are the same letters, on the same frets as the notes on string 1. It is also helpful to point out
that both string 4 and 5 have their natural notes on open, fret 2 and fret 3. Early Level 4 sight-
reading examples focus on one string at a time (for the first week), while later examples have
multiple strings involved and include accidentals.
Level 4 Scales: As early as the first week, level 4 Scales can be introduced. As in level three
these should be performed 4X per note and 1X per note for the duration of the semester. The 2-
octave G scale, Complete C scale and D scale should all be introduced as well as the “every
letter scale”. These will form the basis of daily warm up in Level 4.
Block chords and the A finger: At this stage of development, the addition of the A finger in the
context of four-note block chords will cause little or no difficulty. Instruct that when playing
four-note block chords the hand should close naturally with fingers moving “inside the hand”
and P staying “outside”, and that the fingers should, as always, go by the thumb. The biggest
challenge will be reading four notes at one time, one of which will be the P note on string 4, 5 or
6. Go slowly.

29
Basic chords: E M/m, A M/m, D M/m, G, C:

Block chords will be written in standard notation
Sequence 4/1-Week 1
Review Level 3 pieces, IM alternation
New Bass Notes with P
Expanded 1st position Scales: C,
Level 4 Sight Reading Examples
Sequence 4/2-Week 2
Bass Notes
Add G and D Scales
Level 4 Sight Reading
Continued Level 3 Repertoire
Turkish Rhapsody
Sequence 4/3-Week 3
Block Chords – A finger
Level 4 Sight Reading
Continued Level 3 and 4 Repertoire
Hush You Bye, Pavana No. 6
Sequence 4/4-Week 4
More Block Chords
Sight Reading
Continued Level 3 and 4 Repertoire
Haydn Romanza, Canarios
Sequence 4/5-Week 5
Continue PIMA
Finish Level 3 and 4 Repertoire all voices
Sequence 4/6-Week 6
Rehearse Rep, sectional rehearsals with individual attention

30
The Final Weeks of the First Year

Notice that there is no final performance exam in the recommended sequence for Level 4. If this
sequencing is followed, then the performance exam will need to be scheduled in the final weeks
of the semester. Once again the main task in the final weeks of the semester is preparation for
the public recital (see notes above – “The Final Weeks of First Semester”).

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Skill Level 5
*Note: Students entering skill level 5 will, in most cases, be entering into the “Intermediate-
Advanced” class which means students at this level and above will not have the complete
attention of the instructor focused on their individual skill level needs. This changes the format
of this curriculum, no longer can we recommend weekly class sequencing. By and large the
class will become more repertoire driven with the assumption that most students will have
established basic set up, technique and reading trough Level 4. Instructors will be able to
distribute level-appropriate sight-reading materials. History, Theory and Technique unit can be
taught and tested at the teachers’ discretion and should be generalized to the point that students at
all levels will be able to keep up.
*Note: An extremely important element for teachers to understand is that students at different
levels will still need to be carefully taught new techniques. For example, Level 5 students learn
“Simple Slurs” for the first time – they will need to be taught this skill carefully. As a result the
teacher must make a decision: should the whole class learn simple slurs (even if there are
students who have learned it already), or should there be sectional work while only the Level 5s
are taught their new skill? Either way is fine as long as they are taught the skill completely, and
understand how and when they will be expected to use it in their pieces and sight-reading
examples. The instructor would not teach simple slurs to the whole class if there are students at
Level 4 or below. Teachers will need to create a semester plan based on their class makeup,
carefully choose their repertoire, and figure out when they will be introducing the skills they
need for each individual group! For this reason we highlight the “new” skills to be acquired at
each level. Many of the pieces in this curriculum can be played at different levels incorporating
parts that require different skills. So a student may repeat a piece in the second year, but play a
more demanding part.
*Note: It is expected that students will remain at one skill level for one semester, from levels 5-
9.
Through the audition process, teachers must assess what levels are represented in their
Intermediate-Advanced classes each year and plan accordingly. When at all possible, condense
those students in the class into no more than 4 groups, let’s take a difficult example: in your class
you have a group of Level 8s, a group of 6s, some 4s and 5s, and a group of remedial students
who somehow got signed up for the class and need basic skills development. It would be best to
condense the 4s and 5s into Level 4 (it won’t hurt the 5s to play some Level 4 material) and treat
the remedial students all as Level 1s (assuming that’s where the least advanced of them belongs).
In general condense disparate groups “downward” in skill levels. In this example the teacher
ends up with a class of 8s, 6s, 4s, and 1s – not an ideal class at all, but manageable since there are
arrangements that will be made to handle this type of situation.
Most students entering their second year of study should be ready to begin skill Level 5 after a
thorough revue of levels 3 and 4. In order to begin study at skill Level 5 students must have
mastered basic right and left hand positioning and be able to execute IM scales with good strokes
and string crossing as well as block chords, and be able to read all notes in first position with
correct rhythms and dynamics.

32
Skill Level 5 is meant to establish fluency on all 6 strings in 1st position, develop scalar speed,
increase understanding of rhythmic complexity, and improve block chord reading and introduce
multiple keys. These above skills will have already been taught in levels 1-4, making the task
really one of refinement and improvement.
New Level 5 Skills:
Simple Slurs- Simple slurs include ascending and descending slurs that use fingers 1-2-3 in the
left hand. Students typically have no trouble with ascending slurs, however, it is important to
note that the left hand finger must strike the string on the tip. Descending slurs can pose a
problem if not approached correctly. In descending slurs, the finger on first note will “pull-off”
the string in a downward motion to the floor sounding the note behind. It is important to
remember that this motion is a light gesture and there is no need for excess squeezing in the left
hand.
Principles of Fingering- Level 5 students should begin doing their own fingerings. At level 5
this means understanding that I and M should alternate wherever possible but that crossing from
a lower pitched string to a higher pitched string should generally be done I to M and vice versa,
repeating fingers should generally be reserved for spaces between longer notes or at rests, and
where “backwards” crossing is unavoidable it should be indicated with a / between the
fingerings. Above all, Level 5 students must begin writing in their own fingering choices! As
they progress, the instructor needs to be able to suggest Left and Right hand fingerings and have
students habitually write in those suggestions, understand and execute them properly.
Multi-linear music – At level 5 multi-linear music involves the addition of the occasional bass
note underneath scale passages. The main issue there is to be sure, as usual, that strokes and
positioning are maintained with the addition of the thumb. A common problem is that the thumb
will drag the hand back or down causing negative effects on the quality of the finger strokes.
This must be vigorously opposed! One helpful exercise is the “Super-Stretcher” exercise, which
involves playing P and I together while progressively increasing the gap between P and I.

33
Skill Level 6
Arpeggios are an extremely important part of classical guitar playing. As far as new material,
Level 6 is devoted entirely to learning how to perform basic arpeggios well. Level 6 repertoire,
will include plenty of PIM and/or PIMA arpeggios, but will also continue the work from Level 5
with regard to scales, fingering and multi-linear playing. Of particular importance will be the
skills required to change from a musical passage that is scalar to one that is arpeggiated. With
proper understanding of each element, students should be well prepared for this challenge. Since
arpeggios are chord-based, some of the repertoire will utilize chord symbols in order to review
and solidify students’ knowledge of basic guitar chords.
New Level 6 Skills:

PIM, PIMA: PIM and PIMA are the first arpeggios that students will learn. In contrast to the
block chords above, reading arpeggios will be slightly easier while the technical challenges are
considerable and require great care. The main principle is “extension timing” or the sequential
method by which we extend fingers back to the strings while others flex. Also the student will
become familiar with all key signatures up to 4 sharps and 3 flats.
PIM
Step 1: Fix PIM on three strings (4, 3, 2 for example).
Step 2: Play P.
Step 3: While leaving P “in the air” (or resting against the I tip joint), play I.
Step 4: With both P and I “in the air” play M but at the same time return P to string 4!
(At this point, P should be on 4 while I and M are both inside the hand.)
Step 5: Play P and return both I and M to the strings.
Step 6: Go to step 3 and repeat.
PIMA
Step 1: Fix PIMA on four strings (4, 3, 2, 1 for example).
Step 2: Play P.
Step 4: With both P and I “in the air” play M.
Step 5: With P, I and M “in the air” play A. but at the same time return P to string 4!
(At this point, P should be on 4 while I, M and A are inside the hand.)
Step 6: Play P and return I, M and A to the strings.
Lead the class slowly narrating each step of the extension process. The first Level 6 Sight
Reading examples are all PIM with increasing difficulty, and later examples are all PIMA with
increasing difficulty. Instruct that all sight reading and Level 4 repertoire be completed with
proper extension timing.

34
Skill Level 7
Skill Level 7 is a real milestone for young guitarists. Many guitarists reach this level after 2
years of study. Students develop fluency with complex arpeggios and learn more advanced
ascending and descending slurs, bars and speed development. Through it all they will be asked
to move fluidly between different techniques at higher speeds.
New Skills:
Arpeggios with alternation: PIMI, PIAI, PIMAMI
PIMI
Step 1: Fix PIM on three strings (4, 3, 2 for example).
Step 2: Play P.
Step 4: With both P and I “in the air” play M but at the same time return I to string 3.
(At this point, I should be on 3 while P and M are both up.)
Step 5: Play I and return P while leaving M (and I) inside the hand.
Step 6: Play P and return both I and M to the strings.
PIAI (same as PIMI, substitute A on 1, for M on 2)
PIMAMI
Step 1: Fix PIMA on four strings (4, 3, 2, 1 for example).
Step 2: Play P.
Step 4: With both P and I “in the air” play M.
Step 5: With P, I, M in the air, play A and return M only (I will drift out a bit)
Step 6: Play M and return only I
Step 7: Play I and return P leaving IMA inside the hand.
Step 8: Play P and return IMA to the strings.
More complex Slurs- In Level 7, the student learns more complex descending and ascending
slurs that involve the 4th finger in the left hand as well as 3-note slurs.
Bars – Generally students who work at barring are able to achieve consistent, successful bars in
2-4 weeks. Unlike most things on the guitar there is a real strength component to barring, so it
can take a little time. The most important thing to teach is that the left wrist should be remain
flat on ½ and ¾ bars, often with just a slight bend in the wrist developing on 5- and 6-string bars.
With 2-4 string bars, the left index finger generally only uses its tip- and mid-joints and the class
should be instructed to maintain an approximate 90-degree angle in the first-finger mid-joint.

35
Skill Level 8
Level 8 repertoire and sight-reading examples focus on reading in 2nd, 5th and 7th positions.
Students must be asked to make fingering decisions, write them down, and submit their parts
upon request. Parts in upper position will stay strictly in that position for maximum familiarity.
Rest stroke –“Rest Stroke” is the right hand technique where a finger travels through a given
string and comes to rest on the next string behind it instead of traveling freely “inside the hand”
to end in the air. This means that the trajectory of the stroke must be more toward the face of the
guitar. The right wrist is still at the same height and is still straight, but the fingers extend
outward and become straighter. Teach rest stroke as follows:
1) Explain what rest stroke is (above)
2) Instruct the class to alternate I and M “free stroke” on string 3
3) Instruct the class to extend I to string 1 without string crossing so that I becomes a
little straighter (in effect, reaching for string 1!)
4) Play I 5 times slowly moving the tip of the finger towards the sound board and
through string 1 coming to rest on string 2.
5) Repeat step 2-4, but using M
6) Alternate IM rest stroke slowly on string 1
All of the same principles of string crossing apply to rest stroke as in free stroke, and the same
crossing and scale exercises can and should be performed, on a daily basis. In a nutshell, the
hand is simply set up about two strings “behind” where it would be for free stroke. It should be
explained and underscored that while rest stroke results in a louder, fuller sound, it does not
require more muscular effort. Rest Stroke is loud, you do not have to make it loud.

36
Skill Level 9
Level 9 students are asked to read at any position on the guitar, and will often be asked to
combine different positions successively. Level 9 students will need to be able to make
independent musical and technical decisions and execute all techniques in combination. While
students who have made it to level 9 are, to be sure, advanced students, there can still be a great
amount of skill to be acquired with regard to tone, speed, accuracy, musicality, stage presence,
etc. Level 9 guitarists should also be class leaders who can lead sectional rehearsals, offer
fingering suggestions, make musical determinations for the class to follow, etc.

37
Recommended Solo Repertoire for Each Level
It is highly recommended that every student seek private instruction for solo, classical guitar
from day one of guitar class. If a student decides to study privately, solo repertoire will most
likely, be chosen by this instructor in the community. For the other students in the class, solo
repertoire can be a great motivator and can enhance the classroom experience. As with any
classroom, some students will progress slightly faster than others and the teacher can use the
introduction of a solo piece as positive reinforcement for these players. The teacher can begin
introducing simple solos to appropriate students as early as Level 2. It is Very Important that the
student has previously executed all of the skills necessary to play the solo since he or she will get
little help from the teacher. Check in with the student on a weekly basis hearing portions of the
solo and giving feedback. Also, make sure that the student hears the solo in its entirety before
beginning work. This experience can encourage good practice habits and individual success.
Solos are also a wonderful addition to the recitals giving meaningful, positive reinforcement for
hard work.
Level 1 Solos
Level 2 Solos
Level 3 Solos
Level 4 Solos
Level 5 Solos
Level 6 Solos
Level 7 Solos
Level 8 Solos
Level 9 Solos

38
Technical (Warm Up) Exercises
1) Singles, P and I
Fix P on 3, I on 2, M on 1, and A & Pinky curved slightly and inside hand (not on face of
guitar): play P repeatedly in various rhythms that can be modeled, written on the board, or
passed out, repeat with I. Focus on quality of motions.
2) Singles on the move
Same exercise as above except the hand can move from P fixed on 3 (IM on 21) to P on 5
(IM on 34) to P on 6 (IM on 45). This is valuable because it requires students maintain focus on
establishing and then reestablishing set up. Give plenty of time to move between positions.
3) On-Off Exercise
On string 3, place and remove left hand fingers 1, 2, 3 and 4 (on frets 1,2,3 and 4
respectively) played with the right hand thumb. Each finger is placed and removed four times in
a row, e.g. 1-0-1-0-1-0-1-0, 2-0-2-0-2-0-2-0, etc. and not 1-0-2-0-3-0-4-0. At least not at first!
Focus on perfect Left Hand position. Play all notes with Right Hand P.
4) Shifting Exercise
Using any Left Hand finger (1, 2, 3 or 4), play string 3, fret 1 with P one time. Be sure
that placement of Left Hand finger is on the tip and right behind the fret. Shift the same left-
hand finger up to fret 2 and play again. Shift to fret 3, 4, 5, etc. up to any designated fret 5-12
and then back down. Special focus on excellent left hand form and ensuring that left hand thumb
shifts along the back of the neck along with the rest of the hand so there is never any reaching.
5) Singles, P, I and M (also “on the move”)
Fix P on 3, I on 2, and M on 1: play P repeatedly in various rhythms that can be modeled,
written on the board, of passed out, repeat with I. Repeat with M. When M is played, be sure
that I and P remain fixed and that A and pinky move with M – three fingers moving together
from the big knuckle – inside the hand and past I. Focus on quality of motions.
6) IM alternation and simple string crossing
Fix P on 4, alternate IM on string 3 four times, cross to string 2 (P moves to 3) and
repeat, cross to string 1 and repeat… go backward.
7) “String Walking”, I plays on 6, M on 5, I on 4, M on 3, I on 2, M on 1 and backwards.
8) Super Stretcher Exercise
Play I and P on string 1 and 2 respectively 4 times with I traveling past P. Repeat with P
on 3, 4, 5, and 6 all the while making sure that I travels past P and that the hand stays “up and
over” string 1.
9) Slurring exercise in first position. Fix PIMA on 4,3,2 and 1. Playing P 4 times on string
4, execute ascending slur from 0-1, repeat with I on 3, M on 2 and A on 1. Begin with A on 1
performing a descending slur from 1-0, repeating 4 times. Work your way back to string four
with M on 2, I on 3 and P on four completing 4 descending slurs on each string. Repeat entire
exercise from 0-2, 0-3, and 0-4 in the left hand on their respective frets.
10) Progressive Bar exercise: Bar 2 strings in first position and play each string 2 times
listening for clear sound. Repeat with 3, 4, 5 and 6 strings barred.

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Guitar Curriculum.

Classical Guitar Class Curriculum, Grades 6-12

In this Sequence Document

• Overview of 9 skill levels in GuitarCurriculum.com sequence

• Characteristics exhibited by successful students at all stages of advancement

• Classroom set-up diagram

• Performance checklist for evaluating student performances

• Detailed explanation of skill levels with specific sequencing suggestions

supplied through GuitarCurriculum.com.

© 2006 Austin Classical Guitar Society

Overview of 9 skill levels in GuitarCurriculum.com sequence

© 2006 Austin Classical Guitar Society

© 2006 Austin Classical Guitar Society

Characteristics exhibited by successful students at all stages of advancement

© 2006 Austin Classical Guitar Society

Classroom set up diagram

© 2006 Austin Classical Guitar Society

Performance checklist for evaluating student performances

2. Right and left hand technique

3. Plays with musicality and expressiveness

© 2006 Austin Classical Guitar Society

Detailed explanation of skill levels with specific sequencing suggestions

Objectives: Students will

Procedure: (Recommended sequencing of Skill Level 1) Students will

© 2006 Austin Classical Guitar Society

● Identify left hand numbers 1,2,3,4

© 2006 Austin Classical Guitar Society

Sequence 1/1-Week 1 Recommendations

The First Day of Instruction

At this point concepts communicated include:

© 2006 Austin Classical Guitar Society

The Second Day of Instruction

The Third Day of Instruction

The Fourth and Fifth Days of Instruction

No new material. Concentration on ensemble performance, different groups playing different

© 2006 Austin Classical Guitar Society

© 2006 Austin Classical Guitar Society

At this point new concepts communicated include:

© 2006 Austin Classical Guitar Society

New concepts communicated include:

© 2006 Austin Classical Guitar Society

At this point concepts communicated include:

© 2006 Austin Classical Guitar Society

© 2006 Austin Classical Guitar Society

New concepts communicated include:

New concepts communicated include:

© 2006 Austin Classical Guitar Society

Skill Level 2 (second six-week grading period)

Objectives: Students will

© 2006 Austin Classical Guitar Society

Sequence 2/1-Week 1 (Second 6 Weeks)

© 2006 Austin Classical Guitar Society

Preparing the Left Hand for Reading Music

1. Introduce new notes through fixed-finger, single string warm ups.

© 2006 Austin Classical Guitar Society

© 2006 Austin Classical Guitar Society

© 2006 Austin Classical Guitar Society

The Final Weeks of First Semester

© 2006 Austin Classical Guitar Society