Critica de algunos Metodos de guitarra para ninos

LMU München – Institut für Musikpädagogik

Hauptseminar: Kinder- und Jugendmusikkulturen – WS 2011/12

Dozentin: Prof. Dr. Alexandra Kertz-Welzel

Beginners’ guitar methods for Children:

A short Analysis and Critic

Julio Marinelarena

Matr.Nr.: 9011924

Kontakt:

[email protected]

Abgabe der Arbeit: 31.März. 2012

Contents

1. Introduction........................................................................................................1

2. History of the Guitar ..................................................................................... 2

2.1 The origins………………………………………………………………………………………….2

2.2 The Vihuela……………………………………………………………………………………..... 3

2.3 The Baroque Guitar……………………………………………………………………………. 3

2.4 The 19th century’s Guitar…………………………………………………………………….. 4

3. Guitar’s Methods of the 19th & early 20th centuries................................ 4

3.1 Methode complete. Divisee en trois parties Op.59…………………………………..5

3.2 Mèthode complète de guitare ou lyre…………………………………………………… .8

3.3 Nuevo Metodo de Guitarra ………………………………………………………………….10

3.4 Escuela Razonada de la guitarra. Basada en los principios de Tarrega…..12

4. Three Guitar’s Methodos for Chilndren and Teenenger…………………. 14

4.1 Fridolin, Eine Schule für junge Gitarristen – Band 1………………………………14

4.2 Meine Gitarrenfibel Ein fröhliches Lehr- und Spielbuch für Kinder…………14

4.3 Play Guitar, Gitarrenschule - Teil 1 –……………………………………………………15

5. Critical Analyses…………………….……………………………………………………......... 16

5.1 The methods structure……………………………………………………………………..... 16

5.2 Procedures and Goals………………………………………………………………………… 17

5.3 The musical material………………………………………………………………………….. 19

6. Bibliography..................................................................................................... 22

1 Introduction

In this paper it will be discussed the differences between the guitar methods the 19th

& early 20th centuries and three beginners’ guitar methods for children from our

days, in order to see their improvements and deficiencies.

It was decided to make a historic selection of the guitar methods since his appearance

by the 19th century until the end of the 2oth century first part, where appeared the

first guitar methods for children. The selected 19th centuries works are: Methode

complete. Divisee en trois parties Op.59 by Mateo Carcassi, Mèthode complète de

guitare ou lyre byFerdinando Carulli and Nuevo Metododo de Guitarra by Dionisio

Aguado. The selected early 20th century work is: Escuela Razonada de la guitarra.

Basada en los principios de Tarrega by Emilio Pujol

Due to my guitar teacher experiences in different Musikschulen in Germany, as well

as to the experiences interchange with some guitar teachers, I decided to selected the

next children’s guitar methods: Fridolin, Eine Schule für junge Gitarristen – Band 1

by Hans Joachim Teschner, Meine Gitarrenfibel Ein fröhliches Lehr- und Spielbuch

für Kinder. Band 1 by Heinz Teuchtert and Play Guitar, Gitarrenschule. Teil 1 by

Michael Langer & Ferdinand Neges. These methods are very popular in the

Musikschulen.

On the chapter History of the Guitar it will be shortly resumed the history of the

instrument since his origins until the 19th century, when the instrument acquired his

final design.

On the chapter Guitar’s Methods of the 19th & early 20th centuries will be analysed the

structure of Carcassi’s, Carulli’s and Pujol’s guitar methods. Their differences and

similitudes will be discussed. Subsequently the beginners’ guitar methods for

children will be introduced on the chapter n°3.

On the last chapter the methods Fridolin, Meine Gitarrenfibel and Play Guitar

Gitarrenschule will be analysed. Differences and similitudes between the historic

guitar methods and the children’s guitar methods will be discussed

2 History of the Guitar

2.1 The origins

The guitar nowadays has changed his Form several times trough the centuries, today

we can find basically to families: electric guitar and acoustic guitar. The acoustic

guitar belongs to the plucked string instrument and consists in a body, headstock and

neck. The body is composed primary of top, deck, two sides and the soundhole. In the

headstock we find the tuning machines, while in the neck the frets, the fret-board and

the strings. Wood is the main material for the construction, however today many

guitar luthiers include another materials like a polycarbon or nomex.

There are two theses principal about the origin of the guitar. The first one establishes

a Greco-Roma origin the guitar due to the etymological reasons. The word guitar

comes from the Latin word cithara, which is derived from the Greek word kithara, an

instrument from classical times used in Ancient Greece and later throughout the

Roman Empire 1. The second these maintains, the guitar proceeded from the

Al-Andalus instrument qithara2, which could derive from the Arabic instrument oud,

which was introduced into the Iberian Peninsula trough the Muslim occupation

between 711 and 14953.

By the centuries 11th and 12th two different instruments were called guitar: the

guitarra moresca and the guitarra latina. The first one had an oval back, wide

fingerboard, four courses of strings (each course consisting of two separate strings),

and many soundholes, this guitar support the theory about the Arabic origin of the

Instrument due to his similitude with the Arabic oud. The guitarra latina had a flat

back, a narrower neck, only one soundhole, three or four courses of strings and a

headstock similar to a violin4. The qualifiers moresca and latina had been dropped by

1 “Guitar by Turnbull, Harvey and Sparks, P,” accessed 21.03.2012

http://www.oxfordmusiconline.com/subscriber/.

2 Henry George Farmer, Historical facts for the Arabian musical influence (New York: Arno Press

1978), 137-144.

3 Eloy Benito Ruano, Tópicos y realidades de la Edad Media (Madrid: Real Academia de la Historia

2000), 79.

4 Francisco Javier Ruz Mata, “Recorrido pedagógico a través de la guitarra renacentista,”

Temas para la Educacion. N° 6 (2010): 5-7.

the 14th century and these two instruments were simply referred to as guitars5.

2.2 The Vihuela

By the 15th and 16th centuries the Vihuela became the most important plucked string

instrument in Spain both classical music and popular music, hence many of the

knowledge about the secular music6. The Vihuela was a guitar-like body instrument

with six courses (each course consisting of two separate strings) made of catgut and

was tuned in fourths, almost like a modern guitar, with the exception of the third

string, which was tuned a semitone lower: e, a, d, f#, b, e. Some of the Spanish

composers for the instrument are Luis de Milán, Luis de Narváez, Alonso de

Mudarra, Enrique de Valderrábano, Miguel de Fuenllana, Diego Ortiz and Antonio de

Cabezón.

The Vihuela was popular in Spain and Italy just for a short period; in 1576 appeared

the last surviving published music for Vihuela. Meanwhile the five-course baroque

guitar, which was documented in Spain from the middle of the 16th century, enjoyed

popularity, especially in Spain, Italy and France from the late 16th century to the mid

18th century7.

2.3 The Baroque Guitar

The Baroque Guitar was smaller than a modern guitar, had gut strings, the frets were

also usually made of gut, and tied around the neck. At the beginning the instrument

had four-courses and another one was added later. Each course consisting of two

separate strings although the first (highest sounding) course was often a single string.

The invention oft he five-course had been attributed to the music and poet Vicente

Espinel. This Attribution was made by Lope de Vega, which was refuted by Nicolao

Doici de Velasco (1640) and Gaspar Sanz (1684)8.

5 Tom Evans and Mary Anne Evans, Guitars: From the Renaissance to Rock (New York: Paddington

Press Ltd 1977), 16.


Temas para la Educacion. N° 6 (2010): 9.

7 Tom Evans and Mary Anne Evans, Guitars: From the Renaissance to Rock (New York: Paddington

Press Ltd 1977), 16-24.


Temas para la Educacion. N° 6 (2010): 16.

The role in early music performances of the Baroque Guitar was often as rhythm

instrument in ensemble as solo instrument as the Often was baroque guitar used as

rhythm instrument, this could be appreciated in the music collection for baroque

guitar from Gaspar Sanz Instruccion de Musica sobre la Guitarra Española9.

2.4 The 19th century’s Guitar

By the 19th century the Guitar suffered his last considerable modification; the

addition of a sixth string (a bass E) and the conversion of all courses to single strings.

The invention of the 6th string is often attributed to the Italian luthier Maestro

Fabbricatorello in Naples. “Giuliani demonstrated the invention of the 6th string, due

to Maestro Fabbricatorello in Naples..."10.

By the end of the 19th century Antonio Torres Jurado (1817-1892), a Spanish guitarist

and luthier, considered „The most important Spanish guitar maker of the 19th

century“ 11, perfected the symmetrical design oft he guitar. He made considerable

change on the internal design oft the guitar’s top in order to prove that the top was

the relevant par tot the guitar for his sound. The guitar, which he built with back and

sides of papier-mâché to demonstrate his theory, resides in the Museo de la Musica

in Barcelona, Spain 12. The guitars nowadays are derivatives of the Torres’s one.

3 Guitar’s Methods of the 19th & early 20th centuries

As follows it will be introduced some of the guitar methods from the 19th until the

early 20th century. It is interesting to observe that after some centuries many aspects

of the guitar method did not change at all nowadays. Pedagogical works of some

relevant guitar composers will not be considered, because there are more a collection

of etudes than a properly method.

9 Gaspar Saenz, Instruccion de musica sobre la guitarra española, reproducción en facsimil de los

libros primero y segundo de la tercera edición (1674) y del libro tercero de la edición octava, (1697)

(Zaragoza: Institucion Fernando el Catolico 1979).

10 T. Heck, Mauro Giuliani: Virtuoso Guitarist (Columbus OH: Editions Orphee 1995), 7.

11 R.E. Bruné, 1883 “Antonio de Torres No. 52,” Vintage Guitar September (2011): 84–88.

12 Stefano Grondona, La Chitarra di Liuteria, Masterpieces of Guitar Making (Sondrio: L'officina del

libro 2001), 58-61.

With the establishment of the modern guitar design by the 19th century appear the

first methods for the instrument. It is interesting to observe that after many years a

lot of aspects of the guitar’s methods did not change at all nowadays. The Spanish

guitarists Fernando Sor (1778 - 1839) Dionisio Aguado (1784 - 1849), the Italian

guitarists Mauro Guiliani (1781-1840), Mateo Carcassi (ca.1792-1853) Ferdinando

Carulli (1770-1841), Luigi Legnani (1790 – 1877) and the French guitarist Napoleón

Coste (1806 - 1883) composed several works with a pedagogical character. But only

Carulli, Carcassi and Aguado made a properly guitar methods in addition to many

etudes.

By early 20th century appears the work of Emilio Pujol (1886–1980) Escuela

razonada de la guitarra. Emilio Pujol studied under the guidance of Francisco

Tárrega y Eixea (1852 -1909). Francisco Tárrega was the most important guitarist by

the lately 19th Spanish; he was teacher of many important guitarists from the early

20th century like Miguel Llobet, Daniel Fortea y Emilio Pujol13 .

3.1 Methode complete. Divisee en trois parties Op.59

Mateo Carcassi (ca.1792-1853)

The guitar method of Mateo Carcassi is divided mainly in tow parts. The first one

called “Elementary Principle of Music” explained the basic music theory subject:

notation, harmony, dynamic etc. The second part is divided in three sections. On the

first one issues related to the guitar’s operation are explained: tuning, parts of the

guitar, fingerboard positions, nails and how to hold the guitar, the right hand and left

hand mechanisms are explained. In this section the all the notes of the first position

of the fingerboard are showed and appears some exercises in order to memorize and

all the notes. Upon this the way to play chords and arpeggios on the guitar are

introduced, the explanation is followed with a few exercises and examples.

13 José Antonio Clemente Buhlal, “El contenido melódico en la enseñanza de la guitarra” (PhD. diss.,

Universidad de Murcia, 2002), 288-290.

The second section of the second part called “Scales, Cadences Exercises and Pieces”

introduces a specific scale, a cadence in the respective tonality and an arpeggio’s

exercises and a small piece. This procedure will be repeated on the whole second

section.

The last section of the second part is composed of 50 progressive Etudes from easy to

hard level. As follows the first Etude (next page).

3.2 Mèthode complète de guitare ou lyre

Ferdinando Carulli (1770-1841)

Ferdinando Carulli published his Mèthode complète de guitare ou lyre op. 27 in Paris

circa 1810. The structure is very similar to Carcassi’s method. It begins with a section

about music theory, where he only talks about notation and tuning oft he guitar. On

the second part he explains how to hold the guitar and the operation oft he right and

left hand. Immediately the first notes on the first position on the fingerboard are

introduced followed by six exercises. Upon this the way to play chords and arpeggios

on the guitar are introduced, the explanation is followed by a few exercises and

examples.

After this sections it must be understood, the student is able to learn scales, chords

and arpeggios in different tonalities and to apply this information in small pieces and

Etudes. The last part introduces a scale, arpeggios on the main chords of the

introduced tonality and small piece or etude also in the same tonality. The method is

39 lengths and at the end of it, it is expected the student be able resolve the technical

difficulties of the last etude (next page).

3.3 Nuevo Metododo de Guitarra Madrid 1843

Dionisio Aguado (1784-1849)

The composer and guitarist Dionisio Aguado was born in Madrid. In 1820 he

published his first collection of studies for guitar Colección de Estudios para

Guitarra which was the basis fort his last pedagogical work Nuevo Metodo de

Guitarra published in Madrid 1843.

The Nuevo Metododo de Guitarra consists in two big parts. In order to explain the

way to work on his method, he dedicates the first section of the method to theoretical

issues. Aguado puts a lot of emphasis in the process to learn and not only in what to

learn. The second part has a more practical character and contains 46 studies

organized in a not easy-hard sequence. Many difficult level studies appear very soon

in the sequence, since the author is the opinion, the student must confront high

technical difficulties in order to improve his technic14 .

The first part of the method is divided in three sections. On the first section the

different parts of the guitar, the correct position of the guitar and the use of nails

(with or without) are explained. On the second part Aguado also talks about the

importance of the selection of the instrument, the selection of the concert hall and he

even talks about the position of the guitarist on the concert hall.

On the last section of this part he explains basic music theory concepts applied to the

guitar. He remarks the chromatic character of the guitar and exposes the basic

harmony concepts on the instrument trough the hole fingerboard: intervals, chords

and scales. As result of it, he presents the guitar as an instrument, which could be

divided in positions trough the fingerboard. Aguado sets 13 rules to learn and apply

some patterns of fingering in order to be able to play any scale, any chord and any

interval in any place of the fingerboard15.

On the first part he tries also to established a exactly glossary about the terms related

to the instrument, maybe in order to be sure, all his ideas can be completely

understood.

The second part of the Nuevo Metodo de Guitarra is divided in five sections. On the

first he talks about technical and aesthetic elements. Aguado confers special

importance to the sequence of the activities; he emphasises the studied of the

technical issues before to proceed with the musical issues.

In the first section it is explained how to execute the different technics of he guitar:

Slurs, Thrills, Arpeggios, Flageolet, etc. The technical aspects are followed for small

14 José Antonio Clemente Buhlal, “El contenido melódico en la enseñanza de la guitarra” (PhD. diss.,

Universidad de Murcia, 2002), 255.

15 Ibid., 256.

exercises. On the second section appears more exercises in order developed or the

technical issues oft he section anterior. The third section contains only Studies. It is

interesting to observe that Aguado wrote the hole fingering oft he left hand but not

oft he right hand. The complete fingering oft he right hand was added in an

Appendix.

The forth section is called De la Expresion. This part consists to explain the

execution of different musical signs related to the interpretation: dynamics, tempo,

articulation etc. The last part developed the introduced idea on the first part about

the possibility to play any chord, scale and interval trough the whole fingerboard

using some fingering patterns.

3.4 Escuela Razonada de la guitarra. Basada en los principios de

Tarrega

Emilio Pujol (1886–1980)

Emilio Pujol studied under the guidance of Francisco Tárrega y Eixea (1852 -1909)

and tried to transmit the principles of the Francisco Tarrega’s guitar technic and

conceived his guitar method in 1923 16.

The method of Pujol is divided in three big sections. The first section is called Primer

Curso, again here, the author dedicate this part to theoretical issues. In this case,

Pujol talks only about the guitar and omit musical theory subjects. He deals intensely

with the different aspects of the guitar: parts and construction of the guitar, choice of

a guitar, how to hold the guitar, the sound quality, special notation for the guitar,

fingering, position of the hands and how to practice. Also Pujol talks in his work

about the psychology of the guitarist, the structure and goals of his method.

On the second part of the method are included the Segundo Curso, Tecer Curso y

Cuarto Curso. The whole second part introduces all the different technics of the

instrument and a lot of exercises are included. In contraposition with the methods of

the 19th century, the number of purely technical exercise is increased substantially. 16 Emilio Pujol, preface to Escuela Razonada de la guitarra. Basada en los principios de Tarrega I,

(Buenos Aires: Ricordi Americana 1956), I-VI.

The formula; scale + cadence (chords & arpeggios) + etude are not repeated here.

Pujol emphasize the technical exercises due to develop the technical skills. He is

convinced that is not enough the simple explanation of the execution of a

movement17.

The last part called Virtuosidad is dedicated to more exercises to developed the

different technics of the previously books in order to give the student the tools to

control completely the instrumental technic18. This part contains also some Etudes

from the Author and others guitarist composers.

As it can be see it, all the introduced guitar methods are very similar in their

structure. The structure could be represented in the next way:

Section Issue Development

First Part Theoretical Issues Theoretical

Second Part Theoretical-Practical Issues Theory –Exercise- Small Piece

This structure responds to the authoress’s idea to develop a method, which can guide

the student from the begin level until to the advanced level or even professional level,

as Pujol says19.

The more significant difference between these methods is the extension of the

sections. The explanation of any issue is larger by Pujol and Aguado than by the

other authors. The technical exercises and musical exercises are increased by Pujol

and Aguado, it could be appreciated a more pedagogical sense to proceed. They

include more advices due to make easier the work of the student and to reach the

established goals; precise fingering is included, practicing procedures are discussed,

execution mechanisms related to a technic or exercise are extensively explained.

It is interesting to observe, all the authors include composed the musical exercises

and etudes, which are included on the methods. Only Emilio Pujol includes pieces or

17 Emilio Pujol, preface to Escuela Razonada de la guitarra. Basada en los principios de Tarrega IV,

(Buenos Aires: Ricordi Americana 1956), I-VIII.

18 Emilio Pujol, preface to Escuela Razonada de la guitarra. Basada en los principios de Tarrega I,

(Buenos Aires: Ricordi Americana 1956), I-VI.

19 Ibid.

etude from another well know guitar composers, but only on the last part of his

method.

4 Three Guitar’s Methodos for Chilndren and Teenenger

4.1 Fridolin, Eine Schule für junge Gitarristen – Band 1

Hans Joachim Teschner (1945)

The German guitar teacher Hans Joachim Teschner conceived Fridolin. Teschner

studied Economy, Social Science and Music in Hamburg and Bremen, Germany. He

works as guitar teacher at the Kreismusikschule Friesland since 1976 and at the

University Oldenburg since 1978. During his Studies he plays in diverse Rock bands,

in a Jazz Big Band and at the Music Theatre.

His first publication is from 1980: Weinachtsliedsammlung (Christmas Carol) Jingle

Bells. Die idea to publish it came during the Christmas’s season, when the Author was

looking for Christmas Carol version for younger guitarists (from 7 years old) but he

could not find any appropriate20.

In 1987 the Heinrichshofen’s Verlag published the first edition of Fridolin – eine

Schule für junge Gitarristen-. The book contains 115 Pieces-Exercise form easy level

to advanced level. Almost all the Pieces-Exercises are recorded are recorded on the

CD, which is included in lasted editions. Fridolin was very well received due to his

new concept (compared to existing methods) and in short time became a reference

for the guitar pedagogy, especially in music21. In the following years appear a wide

Fridolin’s publication series: Spielbücher, Liedbegleitung, and Lehrwerk.

“…Kinder- und Scherzelieder, Folklore aus Deutschland un der ganzen Welt

ersetzen dabei langweilige Übungen”22.

4.2 Meine Gitarrenfibel Ein fröhliches Lehr- und Spielbuch für Kinder.

Band1. Heinz Teuchtert (?)

Meine Gitarrenbfiebel has been developed by Heinz Teuchert. The method is divided

20 “Komponist H. J. Teschner,” accessed 18.03.2012 http://www.fridolin-gitarre.de/23-0-Komponist-

H--J--Teschner.html.

21 Ibid.

22 Hans Joachim Teschner, Fridolin. Eine Schule für junge Gitarristen. Band 1 (Wilhemshaven:

Heinrichshofen’s Verlag 1990), 4.

in two diferent Books: Meine Gitarrenfibel Teil 1 and Meine Gitarrenfibel Teil 2. The

book was designed for individual or group lessons for children from 6 years old to 11

years old. Meinte Gitarrenfibel contains 40 pieces-exercises and the first edition was

published in 1994 by G. Ricordi & Co.

Together with the student’s book there is a teacher’s book, which “contains the

accompaniment parts for some lessons of the student’s book, some advices for the

lesson and some guitar’s dances for student and teacher conceived to improve the

alternative stroke technic and appropriate for school’s auditions23.”

“Lieber Kinder,

Gitarrenspielen macht Spaß! Es ist wirklich toll, was sich mit der Gitarre alles

anfangen last, Mann kann darauf die schönsten Melodien spielen oder sich

selbst und seine Spielkameraden zum Singen begleiten24.”

4.3 Play Guitar, Gitarrenschule - Teil 1 –

Michael Langer (1959) & Ferdinand Neges (?)

Michael Langer is an Austrian guitarist, musician, author, teacher and composer. He

teaches at the conservatory in Vienna and has been qualified as a university lecturer

at Anton Bruckner University in Linz. He has recorded four solo albums:

'Fingerstyle', 'Crossing Over', 'Homespun Groove' and 'Copy and Merge'. He has

published almost 40 issues on guitar playing and he is one of the best-selling authors

on this subject25. He studied at the conservatory of Vienna and took part at a lot of

international courses and joined ensembles playing all kinds of different styles of

guitar music.

Ferdinand Neges studied at the music university Graz and Wien. He plays regularly

as soloist and in ensembles. He has recorded CD’s with contemporary music.

Ferdinand Neges works as Arranger, Editor and Composer by Doblinger Publishing.

23 Heinz Teucher, Meine Gitarrenfibel. Band 1. Ein fröhliches Lehr- und Spielbuch für Kinder

(München: G.Ricordi & Co. 1994), 3.

24 Ibid., 2.

25 “About me," accessed 17.03.2012

http://www.michaellanger.at/en/index.php?option=com_content&view=article&id=9&Itemid=8.

In 2002 Doblinger Verlag published the first edition of Play Guitar 1. The method

contains newly arranged and composed music material in different music styles. The

96 new pieces “von Klassik bis Pop”26 are recorded on the included CD. The whole

Book is organized from basic issues to advance issues. Numerous illustrations are

included in order to explain some technical subjects.

“Play guitar bietet eine große Vielfalt an Kompositionen und Arrangements,

welche die stilistische Bandbreite des Gitarrenspiels schon Anfängern

zugänglich machen soll”27.

“Play Guitar' ist ein musikalisches, didaktisches und visuelles Meisterwerk!

(Akustik Gitarre)28.

5 Critical analyses

5.1 The methods structure

If we analysed the structure of these Methods, we will notice that there is any

difference at all compare to the methods oft he 19th and early 22th century. All oft

hem can be divided in two mainly sections .The first one is short and deal with

theoretical subjects: parts oft he guitar, how to hold the guitar, right hand position,

strings names, notes on the first position (first fours frets). This section also contains

Illustrations to support the given information. In addition the authors wrote some

words about how to use the method and the method’s concept. In Meine

Gitarrenfibel the author add some words to the children, teacher and parents. At the

end of this section all the authors explains the quarter note, half note and the whole

note.

Methode Section Pages

Fridolin Theorie 4-13

Meine Gitarrenfibel 1 Theorie 2-9

PlayGuitar 1 Theorie 4-13

The second section concerns to practical issues. Here the student learn basically all

the notes oft the guitar on the first fingerboard’s position. Some music theory

elements and guitar technics are introduced during this section: eight note, different

26 Michael Langer and Ferdinand Neges, Play Guitar. Gitarrenschule 1 (Wien: Doblinger 2003), 4.

27 Ibid.

28 “LANGER, Michael / NEGES, Ferdinand - Play Guitar Vol. 1,” accessed 17.03.2012

http://www.doblinger-musikverlag.at/Komp/index.php?sp=2.

quarter-half-whole rest, sharp & flat symbol, fingering basic concepts, apoyando &

tirando stroke29, one line melody technic, two lines melodies technic (only by

Fridolin and PlayGuitar).

Methode Section Pages

Fridolin Practice 14-71

Meine Gitarrenfibel 1 Practice 10-39

PlayGuitar 1 Practice 14-68

All the authors includes self composed and traditional songs from different countries:

Fridolin 42 songs, Meine Gitarrenfibel 27 songs, 10 exercises, 2 songs to be

completed by the student, GuitarPlayer 96 songs.

5.2 Procedures and Goals

If we compare the structure and method’s conception, we find that the goal of the 19th

& early 20th centuries’ methods is to guide the student from a begin level until an

advance or professional level. We can also see that the student age is not considered

by these methods, or at least it does not play a decisive role.

In the case of the children methods they have been clearly conceived as beginner

methods to be use in the context of instrumental lessons guided by a teacher. The

student’s age and the teacher’s support are also crucial for the conception and

development’s method. For these reasons and according to the today pedagogical

tendencies, the beginner method’s goal should be:

“ …(das Kind) aus kindgemäße Weise in das Instrumentalspiel einzuführen

sowie eine gute Basis zu schaffen und Interesse für eine weiterführende

Ausbildung der instrumental technischen Fähigkeiten und künstlerischen

Entwicklung zu wecken30.”

On the other hand it is well know that the pedagogy has been profoundly developed

since the lately 20th century. Nowadays there is a pedagogical line, which emphasise

the “enjoy factor” by the instrumental lessons. “Zunhemende Spaß-Orientierung des

29 To perform apoyando, the finger rest against the next upper string as he complete the stroke, to

perform tirando the finger do not rest against the next upper string as he complete the stroke.

30 Irmhild Beutler and Sylvia C.Rosin, “Wenn das Sück sich so schön ringelt. Kriterien für

Lieblingsstücke im Anfangsunterricht,” Üben & Musizieren 3 (2005): 30.

Instrumeltal unterrichts, Spaß im und am Unerricht zu initieren, ist die

primäreZielsetzung dieses pädagogisches Ansatzes31. ”

The structure, design and musical material in Fridolin, Meine Gitarrenfibel and

GuitarPlayer are selected In order to reach the “enjoy factor” during the

instrumental class (cambiar notas de los metodos aesta parte), to generate a long-

term student’s motivation.

In all the cases, the design attempts to be attractive for the students. Since these

methods are directed to children, many Illustrations with animals, toys, clowns,

children, etc. are included. Some illustrations also have the purpose to make clearer

some technical aspects: the notes’ position on the guitar, the hands’ position, etc. The

length of the book is not too big, the layout of the notes and text is simple and

confortable to the eyes. The musical material is also directed to the children; almost

all the self-composed songs have lyrics, which suppose to be funny. In the case of the

traditional songs, most of them are also children’s songs.

Since the children’s’ guitar methods does not have the final aim to former advanced

students or much less professional guitarists as the 19th & early 20th centuries’

methods, Fridolin, Meine Gitarrenfibel and PlayGuitar introduced only the

elementary principle of music, which are necessary to understand the diverse parts of

the method. They are explained as short and simple as possible, so that the attention

and effort of the student can be focussed on the practical aspects of the instrument.

In the children’s guitar methods still present the 19th & early 20th methods idea to

develop the practical section: the model, “theory-musical exercise–small piece” (by

Pujol sometimes technic exercise instead musical-exercise). By the 19th methods a lot

music theory and guitar’s technic information was provided, the “musical exercises-

small pieces” were only a few before continue with the next new issue. By the early

20th method the “musical exercises-small pieces” were increased and pure technical

exercises were added for the first time in order to perfect the mechanical skills

31 Eva Genari, “Ein bisschen Spass muss sein, Über die zunehmende Spas-orientierung des

Intstrumentalunterrichts” Üben & Muzisieren 5 (2010): 46.

But the children’s guitar methods find a compromise between the 19th and the early

20th methods. The provided music theory and guitar technic information is not too

extensive, the “musical exercises-small pieces” are increased and the technical

exercises without a musical context are avoided mostly.

The approach to the musical material is also similar in all the cases. The self-

composed songs cover almost of the method’s musical material. In addition to the

obviously difference that the self-composed songs by the children’s guitar methods

are not too complicate due to they are a beginners’ methods. As it has mentioned the

musical material is directed to the children; almost all the self-composed songs have

lyrics.

5.3 The musical material

Self-composed songs are a very important source for the pedagogical objectives of an

instrumental method, since there specific designed to develop a certain technical

skill. Meanwhile not self-composed songs very often must be adapted in order to

reach a pedagogical objective. But on the other hand another kind of musical material

are expected by the guitar students.

Frequently the guitar is linked with Rock, Pop or World Music (Flamenco music,

Latin music), for this reason is not a surprise that the guitar student assume they will

learn that kind of music during the guitar lessons or trough a guitar method.

Und selbdsverständlich ist z.B. die Violine in Mitteleuropa eher ein istrument

zur Darstellung der Musik Vivaldis oder Mozarts als ein Instrument der

Volkmusik oder gar des Rock oder Jazz…32”

Nowadays the Pop Music is closer to the children than the children’s songs, which are

provided in the children’s guitar methods like “kommt ein Vogel geflogen”. Pop

Music is present in the different sphere of the daily children’s life, for this reasons

children expect to learn the music, which they regularly hear. “Jugendlichen

32 Peter Röbke, “Jugendlkultur und Musikschule” Üben und Musizieren 6(1999): 8.

Blockfötenschülerinnen(...) erzählen sie oft, dass sie nur die lieder gerne gespielt

haben, deren Melodie sie schon kannten.33”

The authors of the children guitar methods affirm, that the included musical material

are funny and cover different music styles in order to replace boring exercises. In

spite of it, it seems that the musical world of the music teacher and student still are

very different.

“Viele Instrumentalschuler leben in zwei musikalischen Welten. Mehr oder

minder engagiert üben sie die „unterrichtsliteratur“, die von der Lehrkraft

oder zusammen mit ihr ausgewählt wurde.Daben gibt es die ureigene Musik

der persönlichen Vorlieben: Musik, bei der man sich entspannt, träummt,

tanzt, begeistert, weint oder isch feut: Musik, die gehort wird, wenn man mit

isch allein oder mit freunden zusammen ist.34”

That is why, the musical material of these guitar methods don’t stimulate the

motivation of the guitar students. On the contrary, it the selected musical material

would be the same that belong to the children’s daily life, the motivation could be

substantially increase.

die reaktion von eltern, geschwistern und FreundInnen beeinflusst die

Schülerinen. wenn sie merken, dass die stucke die sie spielen, gerne angehort

werden und bei Schulervorspielen Anklang finden, wird auch das die

Motivation fördern35.”

In addition to the motivation, with the inclusion of the Pop Music another aspects

can be developed. It must not forget, that the Pop Music is closely linked with the

physicality36, so that this music style could contribute to the motor skills

development. Lastly facets of the instrument, which are ignored by the reviewed

children’s guitar methods, could be explored: the guitar as accompaniment

instrument or the guitar as percussive instrument.



34 Ulrich Mahlert, “Lieblingstucke,“ Üben & Musizieren 03 (2005): 1.




But not only the Pop Music are ignored by these children’s guitar methods, also the

nowadays children’s songs, which they play and sing daily with his friends at the

school or at home are ignored. It s not hard to imagine, that the children will prefer

to play a children song, which they play and sing on their daily life as a unknown

children song composed by a adult.

If there is so many Advantage by using Pop Music and children’s song created by the

children, why is that kind of music not included in the children’s guitar methods?.

Maybe the answer does not have to do with pedagogical reasons, but with

bureaucratic and tradition.

“Andereseits ist die musikschule aus historischen wie pragmatischen Gründen

nach wie vor eine Stätte zur Pflege der abendländsichen Kunstmusik;

instrumentale Fertigkeiten werden anhand der Befassung mit traditioneller

Musik entwickelt; instrumentale Fertigkeiten sollen isch in der adäqueten

Dartstellung von Werken erweisen37.”


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Critica de algunos Metodos de guitarra para ninos

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