Aaron Shearer Learning the Classic Guitar Part One


Aaron Shearer Learning the Classic Guitar Part One

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Learning the Classic Guitar is a new direction in guitar instruction. Many ideas in these books break new ground. In developing this innovative method, Mr. Shearer adhered to the following concepts: 1) How and what students practice is as important as how much they practice. 2) Give information only when it is immediately useful. 3) Start with the easiest skills. 4) Approach challenging skills gradually. Part one focuses on technical development and explains the most efficient approach to study and practice. Part two should go along with part one and it presents the elements of music and procedures for developing ability to sight-read and memorize. It also introduces the visualization concept. Part three teaches the student to form clear and accurate concepts of music expression. It also teaches the guitarist how to perform in public with accuracy and confidence.

The Oassic Guitar
“Classic” or “Classical” Guitar?
Tuning the Guitar
Playing Condition of the Guitar
Determining the Action of a Guitar
Choosing a Teacher
Approaching Guitar Study
Your Goal: Sharing Music
Essentials for Performance
Avoiding Habits of Confusion and Error
Aim-Directed Movement
Developing Sustained Concentration
Guidelines for Study and Practice
The Four Principles of Efficient Muscle Function
Positioning the Guitar
General Positioning
The Five Ways of Moving the Guitar
The Right- and Left-Hand Position Checks
Adjusting Your Position
An Alternative to Using the Footstand Alone
Tone Production
Principles of Tone Production
Tone Quality and Your Nails
Nail Contours and Suggested Sha pings
Beginning Right-Hand Training
Terms and Symbols
Right-Hand Positioning
Rest-Stroke and Free-Stroke
The Prepared-Stroke
Training P: The Prepared Free-Stroke
Sounding the Strings
The Continuity-Stroke
Beginning Left-Hand Training
Before You Begin
Left-Hand Positioning
Left-Hand Movement
Movement by Touch: Applying Aim-Directed Movement (ADM)
Training the Right-Hand Fingers
Training the Inactive Fingers
The Prepared Rest-Stroke
The Continuity Rest-Stroke
Alternation of a Finger Rest-Stroke and r_ Free-Stroke
Beginning Free-Stroke with Your Fingers
Before You Begin
Free-Stroke Considerations
1-M Free-Stroke
Tip Joint Considerations
1-M and r_ Alternation
1-M-A Free-Stroke
1-M-A and P Alternation
Sym pathetic Movement
Beginning Free-Stroke Alternation: ELM,
Left-Hand Considerations
Alternating 1 and M on Adjacent Strings
Alternating 1 and Mon a Single String
Principles of String Crossing
Beginning String Crossing
Clarity on Wound Strings
Sounding a Single Note Free-Stroke on an Adjacent String
Mand A Alternation
Developing Right-Hand Speed
Developing Independence through Opposed-Finger Sweeps
Integrating Independence and Control
Comparing Rest-Stroke and Free-Stroke
Rest-Stroke Finger Alternation
Sounding Three Strings Together with r_ and the Fingers
Sounding Two Strings Together with r_ and One Finger
Four Strings Simultaneously with f-1-M-A
Further Left-Hand Training
Applying the Principles of Efficient Muscle Function
Developing Left-Hand Mobility
Technical Slurs
Types of Downward Slurs
Further Right-Hand Training
Arpeggios without P
I, A, MA
& L MI
Conditioning and Coordination Exercise
The Importance of Stretching Exercises
Procedure for Stretching Exercises
Developing Muscular Coordination
Coordination Exercises
The Remedial Student
The Natural Approach
Determining the Most Natural Approach
The Misuse of ”Just Let It Happen”
Economy of Movement
Repetitive Strain Inj-ury (RSI)
Coordination and Counterproductive Tension
How RSI Develops
Musicians Who Develop RSI 1
Questions about RSI 1
Overcoming RSI 1
Summary 10
Avoiding Chronic Shoulder Pain 11
Learning to Recognize Correct Arm Movement 1
Procedure for Training the Right Shoulder 1

136 pages


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