• Noad Book (all exercises & etudes- not memorized, just cleanly).
• All 24 major and minor single note scales. Played with various rhythms and slurring figures.
• Chromatic octaves.
• Giuliani arpeggios.
• Complete either Carcassi Op 60.; Aguado 24 Etudes; Giuliani op.48, or Brouwer Simple Etudes.
• Jury Pieces chosen from each style period over both semesters.
• Understand and apply rules for right and left hand fingerings.

• Work through a modern method for guitar Bk. I
• Work through "Practical Theory and Harmony for Guitar" book/CD.
• 5-7 etudes from "little pieces for flute and guitar."
• 1-2 movements from a Baroque sonata (Vivaldi, Handel, Teleman, Bach, etc…) or 2 solos from the "pick style classical studies" book.
• 8-16 Real Book tunes; Play melody, comp chords, work out a chord melody, beable to solo over changes. Pieces should cover various styles: Swing, Bop, Latin, Blues, and Ballad.
• The CAGED Jazz chord shapes and modes with various note patterns (tested by writing and playing).
• Pentatonic shapes and riffs (handout).

• Be able to recognize basic forms: binary, ternary, rondo, and variations.
• Be able to perform basic harmonic analysis of assigned pieces
• Understand the guidelines for interpretation (see below).
• Understand the main differences between the classical style periods.
• Understand the major jazz styles and how to perform them.

• Read and write a written summary for the following: The "Guitar" entry in Grove's through the Classical period: write a brief history of the guitar to that point. Due February 22^nd.

• Finish the entry by the of the semester and complete your "brief history of the guitar" paper. Due April 26^th. Each person will be responsible for other readings/presentations as outlined in the first week of lessons. You will present these in masterclass according to the schedule.
• Survey other items as assigned. Keep summaries and outlines in lesson binder.

Classical:

• Noad Book (all exercises & etudes- not memorized, just cleanly).
• All 24 major and minor scales in 3rds. Played with various rhythms.
• Chromatic octaves w/ slurs.
• Giuliani arpeggios with increased speeds and staccato "p" or "i" emphasis.
• Sor/Segovia 20 Studies. Selected works by Villa-lobos, Tarrega, or Ponce.
• Jury Pieces chosen from each style period over both semesters. Begin Baroque suite.

• Work through a modern method for guitar Bk. II

• Work through "Jazz Workout for Guitar" Charts/CD.

• 7-10 etudes from "little pieces for flute and guitar."
• The CAGED Jazz chord shapes and their matching modes with various note patterns (tested by writing and playing).
• Understand jazz analysis, bV substitution, Pentatonic applications, Chord substitution, and Secondary dominants.
• Transcribe a jazz/blues solo of your choosing.
• 1-2 movements from a Baroque sonata (Vivaldi, Handel, Teleman, Bach, etc…) or solos from the "pick style classical studies" book.
• 8-16 Real Book tunes; Play melody, comp chords, work out a chord melody, beable to solo over changes. Pieces should cover various styles: Swing, Bop, Latin, Blues, and Ballad.

• Be able to recognize basic forms: Sonata, Through composed, and begin 20^th century idioms.
• Be able to perform extended harmonic analysis of assigned pieces
• Understand the guidelines for interpretation and apply articulations (see below).
• Understand the main differences between the classical style periods.
• Understand the major jazz styles and how to perform them. Know the various latin subgenres (Bossa, Samba, etc…).

• Read and write a written summary for the following: The "Lute" entry in Grove's through the end of the Renaissance: write a brief history of the Lute to that point. Due February 22^nd.

• Finish the entry by the of the semester and complete your "brief history of the Lute" paper. Due April 26^th. Each person will be responsible for other readings/presentations as outlined in the first week of lessons. You will present these in masterclass according to the schedule.

• Survey other items as assigned. Keep summaries and outlines in lesson binder.

Classical:

• All 24 major and minor scales in 6ths. Played with various rhythms and tremelo.
• Chromatic octaves w/ slurs and tremelo.
• Giuliani arpeggios with increased speeds and staccato "p" or "i" emphasis.
• Etudes by Regondi, Coste, or Mertz. Selected works by Villa-lobos, Barrios, Tarrega, or Ponce. Complete an extended modern work.
• Jury Pieces chosen from each style period over both semesters. Finish Baroque suite. Complete extended classical period work (sonata). Present recital if requried.

• Work through a "Melodic Rhythms" and "Sight Reading Studies" for guitar.

• Participate in Jazz Band, Vocal Jazz, or Combos.

• Finish etudes from "little pieces for flute and guitar" and begin an etude collection for Trumpet, Clarinet, Oboe, or Flute.
• Begin Bach Sonatas and Partitas for Solo Violin or Bach's sonatas for flute.
• Understand jazz analysis, work on playing outside the changes.
• Transcribe a jazz/blues solo of your choosing.
• 1-2 movements from a Baroque sonata (Vivaldi, Handel, Teleman, Bach, etc…).
• 8-16 Real Book tunes; Play melody, comp chords, work out a chord melody, be able to solo over changes. Pieces should cover various styles: Swing, Bop, Latin, Blues, and Ballad.

• Be able to analyze 20^th century idioms/rhythms.
• Be able to perform extended harmonic analysis of assigned pieces.
• Understand the guidelines for interpretation and apply articulations (see below).
• Understand the main differences between the classical style periods.
• Understand the major jazz styles and how to perform them. Know the various latin subgenres (Bossa, Samba, etc…).

• Read and write a written summary for the following: The "Jazz" entry in Grove's: write a brief history of the Jazz to that point. Due March, week after spring break.

• Read and write a written summary for the following: The "Rock" entry in Grove's: write a brief history of "Rock." Due third week of April. Each person will be responsible for other readings/presentations as outlined in the first week of lessons. You will present these in masterclass according to the schedule.

• Survey other items as assigned. Keep summaries and outlines in lesson binder.

Classical:

• All 24 major and minor scales in Chords. Played with various rhythms and tremelo.
• Chromatic octaves w/ slurs and tremelo.
• Giuliani arpeggios with increased speeds and staccato "p" or "i" emphasis, the Stover's arpeggio etudes book, or Iznaola's Kitharologues (Pathway to Virtuosity).
• Etudes by Villa-lobos, Dodson & Quine, Kleynjans 8 Etudes de Concert, or Tarrega's 35 etudes. Selected works by modern composers.
• Jury Pieces chosen from each style period over both semesters. Complete a Baroque Lute suite. Complete a concerto and present recital.

• Work through Tedesco's book "For guitar Players Only."

• Participate in Jazz Band or Vocal jazz.

• Finish an etude collection for Trumpet, Clarinet, Oboe, or Flute.
• Begin Bach Sonatas and Partitas for Solo Violin or Bach's sonatas for flute.
• Understand jazz analysis, work on playing outside the changes. Compose a jazz piece.
• Transcribe a bebop solo of your choosing.
• 2 movements from a Baroque sonata (Vivaldi, Handel, Teleman, Bach, etc…).
• 8-16 Real Book tunes; Play melody, comp chords, work out a chord melody, be able to solo over changes. Pieces should cover various styles: Swing, Bop, Latin, Blues, and Ballad.

• Be able to analyze 20^th century idioms/rhythms.
• Be able to perform extended harmonic analysis of assigned pieces.
• Understand the guidelines for interpretation and apply articulations (see below).
• Understand the main differences between the classical style periods.
• Understand the major jazz styles and how to perform them. Know the various latin subgenres (Bossa, Samba, etc…).

• Read and write a written summary for the following: Any style period, or other topic of interest "entry" in Grove's: write a brief history of the entry. Due third week of February.

• Finish the entry by the of the semester and complete your "brief history of that Period" paper. Due third week of April. Each person will be responsible for other readings/presentations as outlined in the first week of lessons. You will present these in masterclass according to the schedule.

• Survey other items as assigned. Keep summaries and outlines in lesson binder.

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Guitar students are expected to know the history of guitar. Freshman need to read the Grove's entry for "Guitar" to the classic period. Sophomores need to read the "Lute" entry. Those interested in Jazz need to look at Mark Gridley's text: Jazz History: Style and Analysis, 7^th ed. They should look particularly at the ‘Elements of Music' and ‘For Musicians sections' and then read the rest of the book. Rock History can acquired from David Szatmary's Rockin In Time: The History and Sociology of Rock Music. Juniors and Seniors need to be familiar with these texts. Everyone should read Grove's entries for: Jazz, Rock, Swing, Fusion, Classical Rock, Bebop, Medieval, Renaissance, Baroque, Classical, and Romantic, 20^th Century/Modern, and Luthier.

All colleges which have Guitar History and/or Repertoire classes require their students to read:

• Tyler, James; The Early Guitar: A History and Handbook; Early Music Series, No.4 (London: Oxford University Press, 1980)

• Donington, Robert; The Interpretation of Early Music; (London & Boston: Faber & Faber, 1977), (452-63).

• Turnbull, Harvey; The Guitar from the Renaissance to the Present Day; (New York: Charles Scribner's Sons, 1978)

• The Art and Times of the Guitar

• Sound Board magazine

• Guitar Review magazine

• New Groves entries as listed

• Guitar Music in Print (the resource book)

• The Classical Guitar Resource Guide

• Guitar and Vihuela: an annotated bibliography

• The Lute Society Journal (magazine)

You are required to keep a notebook of summaries for each item assigned. Each summary should discuss the nature of the reading; is it prescriptive/descriptive, pedagogical, progressive, didactic, what's the target audience, and conclude by evaluating its usefulness.

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