Devin Matthews October 27, 2024 Annotated Bibliography
Repertoire Suggestions for the Young Intermediate Classical Guitarist
This list is intended for young intermediate guitarists to begin developing awareness of different
musical styles within the classical guitar idiom. In the era of ever-present pop stars such as
Taylor Swift, it can feel difficult for guitar teachers to maintain engagement with students when
sticking to the traditional classical guitar repertoire, especially in the early-intermediate stages of
learning. Any classical guitarist knows the value and place for the studies and short works by
Fernando Sor, Dionisio Aguado, Matteo Carcassi, and other great pedagogues and composers
from centuries past. These pieces are indisputably essential to the young guitarist’s repertoire,
but can be dry or unapproachable to young guitarists of today. This repertory list consists of short
pieces by modern composers in a variety of styles and can be interspersed with the standard
repertoire to provide some variety. It is designed to be an introduction to genres such as blues,
country, and Latin guitar with accessible pieces that not only educate the student in these styles
of playing but help them begin to form their own musical preferences and broaden their horizons.
The pieces are organized by level of difficulty.
Learning outcomes:
- Introduce new styles of playing to young classical guitarists
- Gain fluency in techniques such as harmonics, slurs, bends, and use of a capo
- Become familiar with rhythmic styles such as swing and bossa nova
Stachak, Tatiana. “Fingerstyle Etude.” In Characteristic Etudes 1. Kraków, Poland:
Euterpe, 2018.
Level: Easy
This piece in swing rhythm introduces chord symbols written above the staff, which the
composer says is to simplify memorization, but can also serve as an introduction to reading lead
sheets. A challenge for intermediate students may be the sections with strumming. The
transitions between the strumming and fingerpicking sections should be smooth and coordinated;
care should be taken not to exaggeratedly change the right hand position when switching
between strumming and plucking.
Méneret, Laurent. “Blues & Co.” In Suite printanière. Lévis, Quebec: Productions D’Oz,
2017.
Level: Easy
Devin Matthews October 27, 2024 Annotated Bibliography
In swing rhythm, this short piece utilizes basic chords in the left hand and a simple bassline
played by the thumb. Good left hand technique (curled fingers, playing on the fingertips) will
ensure each note sounds clearly and is not dampened accidentally. This song calls for simple
“bends,” which are indicated by an arrow pointing upwards from the original note (D). The left
hand ring finger executes the bend, pulling down towards the E string. This piece is a good basic
introduction to blues for young students.
Gueugneau, Luc. “Cool Picking.” In Pêle-Mêle, vol. 1. Lévis, Quebec: Productions D’Oz,
2020.
Level: Easy
In this piece, the melody should be clear amongst the other notes in the arpeggios. The left hand
is relatively simple, holding basic chords; the student should work on evenness of tone and
tempo in the right hand. Once this consistency is achieved variations in timbre or dynamics can
be added for interest. The whole song is best suited to freestroke articulation.
Nuttall, Peter. “Sunshine Blues.” In Moods’n’Blues. Oxford, England: Countryside Music,
Date Unknown.
Level: Easy
This piece is in swing style, with lots of slurs in the left hand (hammer on/pull off). Care should
be taken to ensure the student practices the slurs slowly and with correct left hand position and
finger motion; maintaining curled fingers and playing on the fingertips, with the finger “falling”
down onto the string for ascending slurs and snapping down on the fretboard for the descending
slurs.
Linneman, Maria. “Souvenir.” In Suite for Lovers. Berlin: Ricordi, 1994.
Level: Easy
This contemplative, jazzy little piece features short phrases and is an excellent title to help
students work on the shape and direction of their phrases. It utilizes a capo on the second fret,
giving students a chance to become accustomed visually and spatially to the shortened neck. If
using a capo on a new piece is too disorienting, have the student try playing something familiar,
such as scales or an easy piece, before returning to “Souvenir.”
Devin Matthews October 27, 2024 Annotated Bibliography
Vedral, Marianne. “Spring Bossa.” In Welcome Spring. Aarhus, Denmark: Bergmann
Editions, 2023.
Level: Early Intermediate
This fun little piece is a nice introduction to the Bossa Nova style, which may be unfamiliar to
beginner/intermediate students. The syncopations may take some practice to get a feel for, and
the student may find it useful to practice the rhythm on open strings when first learning the piece.
This work also provides a chance to work on bringing out the melody while keeping the
accompaniment more subdued.
Pujol, Maximo Diego. “Color Sepia.” Lévis, Quebec: Productions D’Oz, 2005.
Level: Intermediate
This is an excellent, slightly longer (around five minutes) piece for the intermediate student. By
Argentinian composer Pujol, the work features a poignant melody and call and response
phrasing. It has some distinctly Latin flavors, reminiscent of Piazolla, or Brouwer’s “Un Dia de
Noviembre.” This piece develops through a key change and a dramatic climax before returning
to the original theme and closing. It is a satisfying, if not especially difficult, performance piece
for young guitarists.
York, Andrew. “Andecy.” In Windham Hill Guitar Sampler. Milwaukee, WI: Hal Leonard,
1988.
Level: Intermediate
Most classical guitarists are familiar with Andrew York’s compositions to some extent. Like
many of his pieces, “Andecy” is beautiful, emotive, and wonderfully idiomatic to the guitar. It is
in A minor and drop D tuning. This work is very approachable for the intermediate guitarist who
has developed a solid freestroke technique and familiarity with left hand positions on the neck of
the guitar. The middle section introduces a riff which may present some difficulty, but overall
this piece is relatively easy to learn and satisfying to play.
Adegoke, Taiwo. “Alẹ́ Ìtùnú (Night of Comfort).” Tayewo Music Publishing, 2019.
Level: Intermediate
Devin Matthews October 27, 2024 Annotated Bibliography
In the key of D major and in drop D tuning, this piece features tied notes throughout which the
left hand holds sustained. After the initial statement of the melody, sixteenth note groupings of
ornaments are introduced, which should be slurred as needed. In the second page, where the
theme in sixths returns, staccatos are added, presenting a potential opportunity to work on
finessing right hand articulation. Throughout the rest of the song, a legato articulation heightens
the contrast with the staccatos. The whole song may be played freestroke, or the melody may be
played reststroke with accompaniment freestroke.
Chapdelaine, Michael. “Cowboy Waltz.” In Land of Enchantment. St. Louis, MO: Mel Bay
Publications, 2003.
Level: Intermediate-Advanced
This piece is written in the fingerstyle guitar technique with a country-swing feel. Its melody is
copiously embellished, giving the player a chance to practice slurred and glissando ornaments. In
the early stages of learning the piece, the grace note ornaments can be omitted so that the student
can work on the melody and rhythm. The melody moves back and forth between swung
eighth-notes and triplets. This soulful piece is popular with fans of traditional country music, and
though challenging to play smoothly, is a wonderful work to play and perform. The score is
available for free download on Mr. Chapdelaine’s website:
https://www.michaelchapdelaine.com/product/cowboy-waltz/
Richter, Brad. “Smiling Cowboy.” In Ghost Town. Sky Island Music, 2010.
Level: Intermediate-Advanced
This piece features a variety of techniques that require some coordination in order to combine
smoothly. Students should have their right and left hand technique solidly established before
approaching this piece. The right hand thumb plays a golpe or percussive tap throughout much of
the song. The left hand has a variety of slurred riffs, harmonics, and shifts. Between the
percussive effects, strumming sections, and rhythmic motives, this piece is a challenging but
rewarding work for late intermediate-advanced students.
