MADISON PUBLIC SCHOOLS
Guitar Ensemble
Authored by: Michael A. Silvestri
Reviewed by: Lee Nittel,
Director of Curriculum and Instruction
Stacy Snider,
Supervisor of Visual and Performing Arts
Adopted by the Board: January, 2013
Members of the Board of Education:
Lisa Ellis, President
Patrick Rowe, Vice-President
David Arthur
Kevin Blair
Shade Grahling
Linda Gilbert
Thomas Haralampoudis
James Novotny
Superintendent: Dr. Michael Rossi
Madison Public Schools
359 Woodland Road, Madison, NJ 07940
www.madisonpublicschools.org
I. OVERVIEW
The High School Music Department will expose the student guitarist to the technical and aesthetic aspects of the
guitar as an observer and participant in the rehearsal, performance, and study of music of various style periods.
The course will encompass the areas of general guitar knowledge, left hand technique, right hand technique,
music theory and guitar history.
The intent of the course is three-fold; first, to provide the student with enough general, technical, and theoretical
knowledge in which to perform music on the guitar; second, to develop these abilities in order to perform music
in the guitar ensemble and in other groups where the guitar is included; and, third, to realize the role of the
guitarist in the arts through the study and appreciation of its historical development.
II. STUDENT OUTCOMES (Linked to NJ Core Curriculum Standards):
The student will demonstrate:
• a general knowledge of the guitar.
• the ability to utilize right and left hand guitar techniques in various styles of music.
• appropriate technical skills.
• a knowledge of music theory necessary to play the guitar.
• his/her ability to prepare and perform his/her part in a guitar ensemble selection.
• the ability to contribute positively toward the group’s goals.
• the ability to intelligently evaluate guitar ensemble performances.
• a knowledge of guitar literature.
• an increased sensitivity to guitar music as an art.
• a general knowledge of the history of the guitar.
Specific content standards addressed include:
1.1
1.2
1.3
1.4
Creative Process
History of Arts and Culture
Performance
Aesthetic Response and Critique Methodologies
III. ESSENTIAL CONCEPTS
I. General Guitar Knowledge
A. Care and Maintenance of the Guitar
1. changing and cleaning of strings
2. cleaning and monitoring of
a. neck and fingerboard
b. tuners
c. body, bridge and tailpiece
B. Correct Playing Position
C. Tuning Using Fingered Strings and Harmonics
D. Guitar Fingering Notation
II. Left Hand Technique
A. Fingering of Pitches in Position I in C and G Major
B. Fingering of Major, Minor and Dominant 7th Chords in Position I
C. Fingering of Pitches in G, D, A, E, F and Bb Major
D. Major Scales
E.
F.
G.
H.
I.
1. first position fingerings
2. moveable scale patterns in 1 and 2 octaves in various keys
a. beginning with 2nd finger
b. beginning with 1st finger
c. beginning with 4th finger
Full and Half Bar Moveable Chord Forms
Fingering of Minor Scales in Relative Minor Keys of A and E Minor
Fingering in Pitches in A and E Minor
Fingering in Tones in Positions II, III, V, VII, VIII, IX, X and XII
Segovia Scale Patterns
III. Right Hand Technique
A. Identification of Fingering – P I M A
B. Filing and Shaping of Nails
C. Use of the Free Stroke
D. Use of the Rest Stroke
E. Alternation and Various Fingering Combinations
F. Arpeggiation Fingerings Using Open Strings and Chords
G. Melody and Accompaniment Using the Free Stroke
H. Melody and Accompaniment Using the Rest Stroke
IV. Music Theory and Fingerboard Knowledge
A. Note Reading
1. staff, meter signature, rhythmic values and string ranges
2. reading key signatures of C, G, D, A, E, F, and Bb Major
3. reading notes in various positions in C, G, D, A, E, F, and Bb Major
4. reading notes in A and E Minor
B. Sight-Reading
1. occurring on a daily basis in unison
2. occurring on a daily basis in 2, 3, and 4 parts
C. Reading of Notes Requiring Moveable Scale Fingerings in High Positions
D. Use of Chord Formulas and the Relationship to Chord Fingerings
1. major – 1 3 5
2. dominant and dominant seventh – 1 3 5 b7
3. minor – 1 b3 5
4. diminished – 1 b3 bb5
5. augmented – 1 3 +5
6. seventh chords and other added tensions – 1 3 5 b7 9 11 13
E. Functional Diatonic Harmony Analysis in Chord Progressions Using Chord Symbols and
Notated Chords
V. Guitar History
A. Ancestry of the Guitar
1. Lute
2. Vihuela
3. Spanish Guitar
4. Electric Guitar
5. Guitar Synthesizer
B. Important Guitar Composers/Performers and Their Contributions to the Development
of Guitar Technique and Literature
1. John Dowland – Lute
2. Luis Milan – Vihuela
3. Matteo Carcassi
4. Ferdinand Carulli
5. Mauro Giuliani
6. Fernando Sor
7. Dionisio Aguardo
8. Francisco Tarrega
9. Andres Segovia
10. Heitor Villa Lobos
11. Various Concert, Jazz Guitarists and Guitar Quartets
C. Influence of Significant Guitar Composers/Performers on Popular/Contemporary Guitarists’
Technique and Music
D. Role of the Guitarist in the Arts
1. inclusion in other instrumental and vocal groups
2. artworks featuring the guitar and its ancestors
3. dance music
4. utilization in the theatre
IV. SCOPE AND SEQUENCE
I. September – November
A. General Guitar Knowledge
1. changing and cleaning of strings
2. cleaning and monitoring of
a. neck and fingerboard
b. tuners
c. body, bridge and tailpiece
3. correct playing position
4. tuning using fingered strings and harmonics
5. guitar fingering notation
B. Left Hand Technique in Position I
1. fingering of pitches in C and G Major
2. fingering of major, minor and dominant 7th chords in C and G major
3. C major and A minor scale fingerings
4. G major and E minor scale fingerings
C. Right Hand Technique
1. identification of fingering – P I M A
2. filing, shaping and care of fingernails
3. use of the free stroke
4. use of the rest stroke
5. arpeggiation fingerings using open strings
D. Music Theory and Fingerboard Knowledge
1. staff, meter signature, rhythmic values and string ranges
2. note reading in position I
a. C and G Major
b. A and E Minor
3. reading of key signatures of C, G, D, A, and E Major
4. reading of key signatures in A and E Minor
5. chord formulas and the relation to chord fingerings
a. major – 1 3 5
b. dominant seventh – 1 3 5 b7
c. minor – 1 b3 5
6. functional diatonic harmony analysis in chord progressions using chord symbols and notated chords
a. major chords – (I, IV, V)
b. minor chords (ii, iii, vi)
c. dominant seventh chord (V7)
E. Guitar History
1. ancestry
a. lute
b. vihuela
c. Spanish guitar
d. electric guitar
e. guitar synthesizer
II. November – January
A. General Guitar Knowledge
1. playing position
2. tuning using harmonics
B. Left Hand Techniques
1. fingering of pitches in C, G, D, A, and E Major
2. moveable scale pattern beginning with 2nd finger 1 and 2 octaves
3. full and half bar moveable chord formations
4. fingering of pitches in positions V and VII in C major
C. Right Hand Techniques
1. arpeggiation fingerings using chords
2. various alternation fingerings
3. emphasis of rest stroke
4. use of free stroke
D. Music Theory and Fingerboard Knowledge
1. reading in keys of D, A and E Major
2. reading in positions V and VII in C Major
3. chord formulas and the relation to chord fingerings
a. seventh chord
b. diminished
c. augmented
4. functional diatonic harmony analysis in chord progressions using chord symbols and notated chords
E. Sight Reading Occurring on a Daily Basis in Unison
F. Guitar History
1. important guitar composers/performers and their contributions to the development
of technique and literature
a. John Dowland
b. Luis Milana
c. Matteo Carcassi
d. Ferdinand Carulli
e. Mauro Giuliani
f. Fernando Sor
g. Dionisio Aguardo
h. Francisco Tarrega
i. Andres Segovia
III. February – April
A. General Guitar Knowledge
1. playing position
2. tuning with harmonics to concert A pitch
B. Left Hand Technique
1. fingerings of pitches in positions I, V, and VII in C Major
2. moveable scale fingerings beginning with 1st finger
3. bar and half-bar moveable chord formation
4. Segovia Scales in major and relative minor keys
5. fingering of pitches in positions VIII, IX, X and XII in C Major
C. Right Hand Techniques
1. arpeggiation fingerings
2. various alternation fingerings
3. rest stroke emphasis
4. use of free stroke
D. Music Theory an Fingerboard Knowledge
1. reading of notes in positions VIII, IX, X and XII in C Major
2. reading of notes requiring moveable scale fingerings in higher positions
3. functional diatonic harmony analysis in chord progressions using chord symbols and notated chords
E. Sight-Reading Occurring on a Daily Basis in Unison and two parts
F. Guitar History
1. important guitar composers/performers and their contributions to the development
of technique and literature
a. Francisco Tarrega
b. Andres Segovia
c. Heitor Villa Lobos
d. various concert and jazz guitarists
e. various guitar quartets and ensembles
IV. April – June
A. General Guitar Knowledge
1. playing position
2. tuning to concert A pitch
B. Left Hand Technique
1. notes and fingerings in positions I, V, VII, VIII, IX, X, and XII
2. moveable scale fingerings beginning with 4th finger
3. bar and half-bar moveable chord formation
4. Segovia Scales in major and minor keys
5. fingering of notes in F and Bb Major
C. Right Hand Techniques
1. melody and accompaniment with free stroke
2. melody and accompaniment with rest stroke
D. Music Theory and Fingerboard Knowledge
1. reading of notes in positions I, V, VII, VIII, IX, X, and XII
2. reading of notes requiring moveable scale fingerings in higher positions
3. functional diatonic harmony analysis in chord progressions using chord symbols and notated chords
4. reading key signatures of F and Bb Major
E. Sight Reading Occurring on a Daily Basis in 1-4 Parts
F. Guitar History
1. influence of significant guitar composers/performers on popular/contemporary guitarists’
technique and music
2. role of the guitarist in the arts
a. inclusion in other instrumental and vocal groups
b. artworks featuring the guitar and its ancestors
c. dance music
d. utilization in the theatre
V. EVALUATION
The student’s grade will be determined by the following:
• attendance at all ensemble rehearsals and performances
• progress of technique, theoretical ability and fingerboard knowledge
• preparedness at all scheduled activities
VI. RESOURCES
Student Text
Noad, Frederick M., Solo Guitar Playing. New York: Shirmer Books, 1976
Supplementary Tests
Leavitt, William. A Modern Method for Guitar. Boston: Berklee Press Publications, 1966.
Salvador, Sal. Single String Studies for Guitar. Melville: Belwin Mills Publishing Corporation, 1961.
Segovia, Andres. Diatonic Major and Minor Scales. Bryn Mawr: Columbia Music Company, 1953.
Other Supplementary Materials:
Various etudes and works from various style periods
Recordings – including records, tapes, and CDs in various style periods