Customer Reviews

Classic Guitar Technique, Volume 1

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In my late twenties, I decided that I wanted to teach myself how to play classical guitar. The inspiration came to me long after I had abandoned a frustrating, embarrassing, and futile struggle to learn trumpet as a youth.

I bought a bunch of books (I still have them -- the stack is six inches tall), studied with a class given over NPR-TV, and I even took some beginner classes. But I didn't get far. I'd about concluded that music and me were never going to be a "thing."

It was about then that Shearer's "Classical Guitar Technique," (Vols. I & II) came to my attention. It looked pretty good! So, I bought Volume II and I took it home. I figured that I must have learned enough over those ten years that I could skip Volume I. But it was clear within a week that I needed Volume I, as well. So, I went back and got it, too.

What wonderful books they are! I spent the next two years in near ecstasy as I went through Shearer's lessons. I was actually learning! I was playing an hour every night -- not because I thought I had to, but because I was LOVING it! The songs I was playing were some of the prettiest I had ever heard for classical guitar. Wonderful songs by Sor, Carulli, Aguado, and the likes. And I was playing them!

Toward the end of that time I got a copy of Shearer's "Supplement 2, "Basic Elements of Music Theory." I studied it as well, and that was also a good decision. (I never thought to inquire about Supplement 1 -- I don't know why).

By that time, one of my teen-aged sons was taking guitar lessons on his own (but on a rock guitar). I sat-in on his lessons. His teacher decided to hold some group lessons in theory for his charges. After watching the class fidget with frustration for three weeks, I asked (privately, of course) if I couldn't have a half-hour with them. The instructor agreed. At the end of that half-hour, the students came up to me to say that they could finally began to see what the instructor had been trying to get across to the class -- and they thought it was cool! Shearer's book had made the points so well to me, that I was able to present it clearly to a class of teen-agers, despite my limited training.

Now, I'm still not musician enough to earn my supper with my guitar, and I'm certainly not a music theory expert. But, I have to tell you, I'm a thousand times more of a musician now than I was before, and I owe it all to Aaron Shearer's books.

I've never had the pleasure of meeting Mr. Shearer, and I probably will never have an opportunity to thank him in person. But I do feel obligated to thank him, and that is why I wrote this.

If you decide to try Shearer's books, you will definitely find them challenging. But, from the first week, you will also find them immensely rewarding.

This method is great! After a lifetime of pretending to play the guitar (!) I finally decided to actually study. My teacher uses all of Shearer's methods simultaneously, but concentrates on this one. I had imagined that beginning to study would place me in the "Twinkle Twinkle Little Star" and "Mary had a Little Lamb" category, but NO! This method approaches the study of guitar seriously, and beautifully - by the end of the first book you are playing simple but lovely pieces, based on a sound technical basis. I am astounded to have come so far so quickly using this method. Highly recommended! I am delighted. :)

If you wanna start learning classical guitar, this is the book you wanna buy. It includes basic techniques for fingering, music notations, basic scales, etc. Towards the end of this book, you can learn some pieces with arpeggio, which are simple but has an impressive sound. It would be more effective to use this book with "Solo Guitar Playing 1" by Frederick Noad, which has more pieces to practice in this level. Overall, this is a great book to start with, if you are serious about learning classical guitar.

I suppose I may be prejudiced in favor of this, considering that it was the book I learned from myself and the only classical guitar method I knew back in those days. Nevertheless, it worked very well for me, and I still refer to it from time to time as a sort of warm-up exercise. I went from this to 700 YEARS OF MUSIC FOR THE CLASSIC GUITAR, edited by Albert Valdes Blain and then to WE GATHER TOGETHER, edited by Ron Rendek. Check out volume two, also.

This is a second edition that's been around since the early 60's, I believe (the first edition is from the late 40's but I've never seen it). The more recent Mel Bay edition of Shearer's method goes into much more detail concerning the mechanics of playing. The older edition starts right off with finger alternation on the same string, leading directly to string crossing. The newer edition postpones alternation awhile, beginning with repetition of a single finger on one string followed by one-finger-per-string alternating, leading toward a much larger discussion of alternation and string crossing.

It's a useful distinction as it's easier to focus on the tone and motion of individual fingers before adding the complexity of alternation. Musically speaking, strict alternation is not neccessary nor even desirable in many pieces but flexibility in technique certainly is.

While the newer edition is superior in its discussion of mechanics, the music itself is less satisfying. There is no classical repertoire at all. All the pieces are composed by Shearer or a contemporary composer who's name escapes me. Many pieces are so nodescript in content and technique it's puzzling why more well known repertoire pieces weren't used. There's also an overabundance of duets, which will be frustrating to the student working alone.

While the earlier edition also contains Shearer's own pieces and exercises, there are more solo pieces and at least a gradual introduction of basic Carulli/Giuliani/Sor works. The second volume of the older edition covers higher neck positions while the newer edition remains almost entirely in the first (open) position.

The third volume of the Mel Bay edition on interpretation (along with a cassette recording) is very useful for developing a sense of phrasing and dynamics once you begin playing the easier repertoire pieces included in the earlier edition.

Bottom line: Get both editions and work through them in parallel.

I greatly prefer Shearer's original "Classic Guitar Technique" to the newer "Learning Classic Guitar," because it is less teacher-dependent and easier to use. This book can almost take the place of a teacher, bringing you step-by-step from basic to more advanced material, giving pointers and using capital letters and exclamation points to remind you of important facts and to keep you from acquiring bad habits. On the other hand, "Learning Classic Guitar" is useless unless you have a teacher, and even then I think that Classic Guitar Technique is a better choice. Even better than either book is Noad's "Solo Guitar Playing."

I love this book. It's the unquestioned classic for beginning guitar instruction. If you want to learn classic finger-picking technique, this is the book to start with. By the time you've learned the Carulli and Guiliani etudes near the end of this volume, you'll have a feel for guitar tradition, as well as a modicum of technique. If your teacher isn't familiar with it...find another teacher immediately! If you finish this modest volume and want more, by all means get volume 2.

This book offers enough exercises to obtain a well practiced hand before moving into harder pieces. Other books seem to offer you building blocks, then show you the pyramide, but miss connecting the two. Shearer does an excellent job of helping all the pieces come together.

This is the authoritative beginner's book for Classical Guitar students in North America. Like any rigorous classical method, Aaron Shearer's is not suited to those seeking to learn the instrument without a teacher. The chances are that when you begin study with your teacher, he or she will have you purchase this book. It will be an excellent choice.

If he or she is not thoroughly familliar with the book and method, another teacher should be considered immediately.

Recently I enrolled in a school of music. I was aprehensive at first (I didn't want to have to practice little children's music) but soon was happy to hear that my instructor uses this book. When I first looked thru the book I could see that it was meant for serious students. I appreciate the methods used here. The music that one must practice is beautiful and I really get a sense of accomplishment when I "get it right". I would recommend this lesson book to all instructors.