UST CONSERVATORY OF MUSIC GUITAR DEPARTMENT

COURSE OF STUDY FOR CLASSICAL GUITAR

Level 1

1. Brief explanation of the basic tools for music literacy. The following items have to be clearly shown, defined, and
operationally demonstrated:
- Staff
- Clef/s
- Notes and rests
- Time signatures
- Accidentals

2. Brief description of the parts of the guitar and how they operate and contribute to the sound of the instrument.

3. Seating posture/position and brief explanation as to how it helps in performance.

4. Identification of the labels for the left hand fingers (1-index, 2-middle, 3-ring, 4-pinky] and the right hand fingers p-
thumb, i -index, m-middle, a-ring, c-pinky from the Spanish pulgar, indicio, medio, annular, chico)

5. Explanation of the right-hand/arm mechanism, its position and relationship with timbre (tone color) and dynamics.
The following terms have to be clearly defined, and operationally demonstrated:

- pp, p, mf, f, fff

- dolce/tastiera, normal/natural, ponticello/metallico

6. Explanation of the basic right hand techniques:

- Right-hand finger alternations and corresponding movements

- Free-strokes (tirando)
- Rest-strokes (apoyando)

Exercises with simple alternations integrated with free-strokes and rest-strokes*.

7. Notes in the first position: basic reading exercises using whole notes, half notes, quarter notes and basic time
signatures in a single voice. Separate exercises should be used for accidentals and two voices. The same exercises
should be used to integrate the rules for the right-hand.
8. Two-voice exercises in the first position in C major, with the upper voices played using free strokes and rest strokes.

9. Introduction to right hand arpeggio planting techniques

10. Arpeggio exercises in the first position in C major, with selected notes played with free-stokes and/or rest-stokes.

11. Introduction and explanation of the scale and the cadence with simple pieces using arpeggios, rest-strokes for
melodies. Emphasis should be given on the distinction between vocal, instrumental, and dance-styles in composition.
 Level 2

1. Exercises for identifying and performing notes beyond the first and second positions.

2. Explanation of slurs and ornaments with corresponding exercises.

3. Introduction to basic intervals (3rds, 6ths, 8ves, 10ths) with corresponding exercises.

4. Five simple pieces integrating basic right hand techniques, arpeggios, scales. slurs, and basic intervals.
At this point, it is recommended to introduce the student to other styles and composers, with careful consideration to
closely adhere to the technical and musical problems that are under study.
The teacher shall decide the Level 2 program. The following studies or any piece of similar difficulty may be
considered:

Mateo Carcassi

- Studies 1-50 from Carcassi’s Metode Complete, Op. 59

Fernando Sor

- Estudio 2, and 11 from Op. 6

- Estudio 6, 13, and 23 from Op. 31
- Estudio 3, 5, 9, 10, 11, 12, from Op. 35

Mauro Giuliani

- Estudio 2, 12, and 13 from Op. 51

- Estudio 6 Op. 100
- Estudio 3, and 4 Op. 139

Leo Brouwer

- Estudio 2, 5, and 6 from Estudios Sencillos

Luis Milan

- Any of the Six Pavanas

ANY PIECE OF SIMILAR TECHNICAL DIFFICULTY

At this point, it is also strongly recommended to have the student take up Mauro Giuliani’s Op. 1 arpeggio studies, Arpeggio
Exercises from Abel Carlevaro’s Cuaderno 2 or anything similar, and the Major and Melodic Minor Scales by Andres Segovia to
be integrated to their daily practice routine.

Students shall be evaluated by the teacher to be promoted to study Level 3 repertoire. Evaluation via forum performances at
this point is strongly recommended.
 Level 3

EXAMINATION REQUIREMENTS:

The student is required to perform any ten [10] etudes from at least three [3] different composers. All etudes must come from
the list given below. All etudes are required to be performed from memory.

Fernando Sor

- Studio 8, Op. 6
- Studio 9. ,Op. 6
- Studio 10, Op. 6 (Chord Study)
- Studio 11, Op. 29
- Studio 15, Op. 31
- Studio 24, Op. 31
- Studio 8, Op. 35
- Studio 17, Op. 35
- Studio 18, Op. 35
- Studio 22, Op. 35
- Studio 24, Op 44

Francisco Tarrega

- Studio su un Tema de J.S. Bach

- Study No. 5 (Scale/speed study)
- Study No. 7 (scale/speed study)
- Study No. 16
- Studio de Campanelas Sur un Tema di “Folia”

Leo Brouwer

- Estudio 1, 3,4, 7,8,9 and 10 from EstudioS Sencillos

Mateo Carcassi

- Study no. 1,2,3,4,5,6,7,8,10,11, 12,13,19,21, from Etudes melodiques progresif

Mauro Giuliani

- Studies 1, 2, 5, 6, 7, 9,18, 19, from Op. 48

- Studies 5 from Op. 51
- Study 4, Op. 139
 Level 4

EXAMINATION REQUIREMENTS:

The student is required to play seven [7] etudes from at least three composers. One [1] required speed study, and one [1]
harmonics study must be included in the total number of etudes. The student is also required to play one [1] piece from each
stylistic period (Renaissance, non-German Baroque, Classical, Romantic and Modern [20th Century]). The piece for the Classical
period must be in the classical rondo (modified or non-modified) form. The selection of Renaissance and Baroque pieces must
come from the sets given below. The teacher shall be the one to choose etudes and pieces. All etudes and pieces are required
to be performed from memory.

ETUDES:

Francisco Tarrega

- Estudio en Forma de Minueto (speed Study)

- Estudio de Velocita (Speed Study)
- Studio in Re Maggiore

Fernando Sor

- Studio 3, Op. 6
- Study 6, Op. 6
- Study 7, Op. 6
- Study no. 5, Op 29
- Study 9, Op 29 (harmonics study)
- Study 13, Op. 29
- Studio 16, Op. 31
- Studio 21, Op. 31
- Studio 19, Op. 31

Mauro Giuliani

- Studio 14, Op 48
- Studio 16, Op. 48

John Duarte

- Study no. 9 (harmonics study), Op. 140, 12 Studies

- Study no. 6, Op 140 (blues/swing study)
- Study no. 4, Op 140 (triples against duple)

Leo Brouwer

- Estudios Sencillos 11-20

Luigi Legnani

- Capriccio no 7, Op 20 (speed study)

Frederic Hand

- Study 1 from Five Studies

- Study 3 from Five Studies
PIECES:

1. Simone Molinaro: Any Saltarello of appropriate difficulty

2. Alonzo Mudarra Fantasia X (10)
3. Luys de Narvaez: Cancion del Emperador
4. Luys de Narvaes: Guadarme las Vacas
5. John Dowland: Melancholy Gaillard, Frog Gaillard, Master Piper’s Gaillard, Mr. Langton’s Gaillard, The Shoemaker’s
Wife, Dr. Case’s Pavan, Lady Hudson’s Puffe (Allemande)
6. Any dance or instrumental piece from the non-German Baroque repertory may be chosen. Preferably from suites by
De Visee’, Corbetta, de Murzia, Sanz, Campion
7. Fernando sor: Rondo in C from Grand Sonata Op. 22
8. Fernando Carulli: Rondo from Sonata in A
9. Fernando Carulli: Rondo from Sonata in in D Op. 5
10. Agustin Barrios-Mangore: Minueto en do
11. Manuel Ponce: Estrellita
12. Miguel Llobet: One of the “Canciones Populares Catalanes” (some selections may be utilized as harmonics study)
13. Franciso Tarrega: Any of the Preludes
14. Francisco Tarrega: Pavana
15. Manuel Ponce: Preludes (choose one to two contrasting Preludes, depending on difficulty and/or length)
16. Manuel Ponce: Tres Canciones Mexicanos (Choose one movement)
17. Alexander Tansman: Sarabande or Barcarolla from Cavatina Suite
18. Viktor Kozlov: Malakhit
19. Leo Brouwer: Cancion de Cuna from Two Popular Cuban Themes
20. Leo Brouwer: Un Dia de Noviembre
21. Antonio Lauro: Any of the Four Valses Venezolanos (Alirio Diaz Edition)
22. (Faculty opinions, and repertoire suggestions)

Level 5

Examination Requirements:

For the etudes, the student is required to perform one [1] tremolo study, one [1] speed study, and one [1] Villa-lobos study (any
from 1-12). Additional studies may be recommended by the teacher as he/she sees fit, giving careful consideration to the
student’s ability and proficiency within a reasonable workload. Only required studies shall be performed in the examinations.

For the pieces, the student is required to perform one [1] piece from each stylistic period. The Renaissance (any Fantasia,
preferably from the English Renaissance), Baroque (any dance/prelude from a Suite from the German baroque lute repertoire)
and Classical (Sonata–allegro form) pieces must come from the set specified below. Modern/Contemporary must come from
list below. Modern/Contemporary pieces may be a movement (of appropriate difficulty) from a large multi-movement work. All
etudes and pieces are required to be performed from memory.

ETUDES:

1. Stephen Dodgson/Hector Quine: Studies 1-10

2. Napoleon Coste: Etudes 4-25 from 25 etudes Op. 38
3. Francisco Tarrega: Recuerdos de la Alhambra (tremolo study)
4. Franciso Tarrega: Sueno (tremolo study)
5. Francisco Tarrega: Estudio Brillante de Alard (speed study)
6. Agustin Barrios-Mangore: Arabescos (speed study)
7. Agustin Barrios-Mangore: Estudio de Concierto No.2 (speed study)
8. Agustin Barrios-Mangore: Las Abejas (speed study)
9. Agustin Barrios- Mangore: Una Limosnita por el amor de Dios (tremolo study)
10. Julio Sagreras: El Colibri (speed study)
11. Frederic Hand: Studies 4 and 5

PIECES:

1. Any dance/prelude from any of the Lute Suites by J.S. Bach or S. L. Weiss
2. J.S. Bach: Prelude or allegro from Prelude, Fugue and Allegro
3. John Dowland: Any of the 12 Fancies (Fantasias)
4. Anton Diabelli Sonata in A or F, Sonata-Allegro Movement
5. Fernando Sor: Sonata Op. 15b in C Major
6. Fernando Sor: Sonata in C major Op. 22, 1st movement, or Sonata No. 2, Op. 15 1st Movement.
7. Mauro Giuliani: Sonata in C major Op. 15, 1st movement
8. Agustin Barrios-Mangore: Madrigal Gavota
9. Agustin Barrios-Mangore: Julia Florida (Barcarola)
10. Agustin Barrios- Mangore: Vals Op. 8 No. 3 or No. 4
11. Agustin Barrios- Mangore: Vals de Primavera
12. Agustin Barrios- Mangore: Don Perez Freire (tango)
13. Enrique Granados: Danza No. 4 (Villanesca) or No. 5 (Andaluza)
14. Johann Kaspar Mertz: Any piece of appropriate difficulty from Barden Klange
15. Francisco Tarrega: Capricho Arabe
16. Andrew York: Sunburst
17. Abel Carlevaro: Preludios Americanos (choose one of appropriate difficulty)
18. Sainz dela Maza: Hommage a la Guitarra
19. Astor Piazolla: Cinco Piezas para Guitarra (choose one)
20. John Duarte: English Suite (first movement)
21. Anton Ruiz Pipo: Cancion et Danze
22. Roland Dyens: First or Second Movement, Trois Saudades
23. Roland Dyens: Tango en Skai
24. Leo Brouwer: Danza Caracteristica
25. Leo Brouwer: Any movement from El Decameron Negro
26. Heitor Villa-lobos: Any of the Five Preludes
27. Manuel Ponce: Vals in D
28. Tansman: Cavatina, Any movement except Sarabande, and Barcarolla.
29. Tansman: Danza Pomposa
30. (Faculty opinions, suggestions, particularly for the classical sonata-allegro and Modern/Contemporary)
 Level 6

EXAMINATION REQUIREMENTS:

The student shall perform a total of three [3] etudes from composers listed below. Additional studies may be recommended by
the teacher as he/she sees fit, giving careful consideration to the student’s ability and proficiency within a reasonable workload.
Only required studies shall be performed in the examinations.

For the pieces, the student shall perform one [1] piece from the Baroque, Classical, Romantic, and Modern stylistic periods. An
additional Contemporary Filipino piece of appropriate difficulty will be required to be included in students’ repertoire. The
Baroque, Classical, Romantic and Filipino pieces must come from the given set below. All etudes and pieces are required to be
performed from memory.

ETUDES:

1. Heitor Villa-lobos: Etudes 1-12 (should not include etudes studied from previous level)
2. Stephen Dodgson/ Hector Quine: Studies 11-20
3. Agustin Barrios-Mangore: Etudes No. 3 or No. 6
4. Agustin Barrios-Mangore: Estudio de Concierto No. 2
5. Giulio Regondi: Etudes No. 1 or No. 5
6. Frederic Hand: Study 2

PIECES:

1. J.S. Bach: Any of the fugues from BWV 997, BWV 998, or BWV 1000
2. S.L. Weiss: Fugue
3. Fernando Sor: Variations on a Theme by Mozart
4. Mauro Giuliani: Variations on a Theme by Handel
5. Francisco Tarrega: Gran Jota
6. Manuel ponce: Sonatina Meridional
7. Alexander Tansman: Suite en Modo Polonico
8. Frederico Mompou: Suite Compostellana
9. Castelnuvo Tedesco: Caprichos de Goya (Three contasting pieces)
10. Antonio Lauro: Suite Venezolana
11. Leo Brouwer: Elogio de la Danza
12. Frederico Moreno-Torroba: Sonatina in A
13. Agustin Barrios-Mangore: Choro de Saudade
14. A.B. Mangore: Mazurka Appasionata
15. Isaac Albeniz : Cordoba
16. Isaac Albeniz: Sevilla
17. Isaac Albeniz: Granada
18. Isaac Albeniz: Cuba
19. Isaac Albeniz: Asturias
20. Enrique Granados: La Maja de Goya
21. De Leon Mendoza: Kudyawit
22. De Leon Mendoza: Kapilas na Giting
23. De Leon Mendoza: Kundimang Walang Titik
24. (Faculty opinions, and repertoire suggestions)
 Level 7

EXAMINATION REQUIREMENTS:

The student shall perform in a graded recital (Junior Recital) upon passing an ungraded audition. One [1] full Suite is
required for the Baroque. For the Classical pieces, the student shall choose from either the Sonata Eroica, Grand
Ouverture, Grand Solo, or the 1st movement and any other movement of any of the Ponce Sonatas. For the
Romantic/Spanish pieces, the student shall perform from either the complete La Catedral, any two [2] pieces from Albeniz
or Granados, or any major work from Regondi, Mertz, Coste. For the Modern/Contemporary pieces, the student may
choose from any from the set given below, or anything of similar and/or formal difficulty. For the Concerto, only one
movement is required, either the 1st or the last movement.

In the event that the student opts to perform the full Classical Sonata, the full Baroque Suite may be replaced with a fugue
from BWV 997, BWV 998, or BWV 1000 provided that the student has not yet taken the specific fugue for any level prior to
level 7. All pieces, concertos and etudes are required to be performed from memory.

PIECES:

1. J.S. Bach: Any of the Lute Suites

2. S.L. Weiss: Any Suite
3. Mauro Giuliani: Sonata Eroica or Grand Ouverture
4. Fernando Sor: Grand Solo
5. Manuel Ponce: Any of the Sonatas (Sonata Classica, Sonata Romantica, Sonata Mexicana, Sonata III)
6. Agustin Barrios-Mangore: La Catedral
7. Isaac Albeniz: any two [2] dances from the Suite Espanola
8. Enrique Granados: Any two dances from Danzas Espanola
9. Frederico Mompou: Suite Compostellana
10. Mario Castelnuvo-Tedesco: Capricho Diabolico
11. Antonio Lauro: Suite Venezolano
12. Joaquin Turina: Seguidillas
13. Reginald smith-Brindle: El Polifemo de Oro
14. Any piece of similar technical, and/or formal difficulty.

CONCERTOS:

1. Joaquin Rodrigo: Concierto de Aranjuez

2. Joaquin Rodrigo: Fantasia para un Gentilhombre
3. Mario Castelnuvo-Tedesco: Concerto in D
4. Mauro Giuliani: Concerto in A, Op. 30
5. Manuel Ponce: Concerto del Sur
6. Heitor Villa-lobos: Concerto for Guitar
7. Leo Brouwer: Concierto Elegiac
8. Leo Brouwer: Concierto de Toronto
9. Malcolm Arnold: Concerto for Guitar and Orchestra
10. Andre Previn: Concerto for Guitar and Orchestra
11. Claude Bolling: Concerto for Guitar and Jazz Piano

*the student may opt to perform the concerto either with piano accompaniment, chamber orchestra, or full orchestra
 Level 8

EXAMINATION REQUIREMENTS:

Upon passing an ungraded audition, the student shall perform in a graded recital (Graduation Recital) either the entire Prelude,
Fugue and Allegro or one of the full Lute Suites by J.S. Bach, or a full Lute Suite by Sylvius Leopold Weiss for the Baroque. For
the Classical and/or Sonata, the student shall pick from the list below. For the Romantic, the student may perform any from the
given set below, provided that the pieces have not yet been played in any level prior to Level 8. The student may also perform
any large concert piece of similar technical and/or formal difficulty. For the Modern pieces, the student may choose from any
one from the given set below in their complete from or any other piece of similar technical and/or formal difficulty. The student
shall also perform one full Concerto from the given set below, or any other Concerto of similar difficulty. All pieces and
concertos are required to be performed from memory.

PIECES:

1. J.S. Bach: any of the Lute Suites

2. J.S. Bach: Prelude, Fugue and Allegro
3. S. L. Weiss: any Suite
4. Mauro Giuliani: any of the Rossinianas
5. Manuel Ponce: any full Sonata (Sonata Classica, Sonata Romantica, Sonata Mexicana, Sonata III)
6. Isaac Albeniz: any two [2] pieces from the Suite Espanola
7. Enrique Granados: any two [2] dances from the Danzas Espanolas
8. Benjamin Britten: Nocturnal for Solo Guitar
9. William Walton: Five Bagatelles
10. Manual Ponce: Variations and a Fugue on the Folia (choose only 10 contrasting variations and the Fugue)
11. Joaquin Rodrigo: Elegio de la Guitarra
12. Stephen Dodgson: any of the Partitas
13. Hans Haug: Prelude, Tiento et Toccata
14. Giulio Regondi: Nocturn (Reverie)
15. Agusti Barrios-Mangore: Un Sueno en la Floresta
16. Agustin Barrios-Mangore: Hommage a Tarrega
17. Mertz: Opera Revues
18. Any Pieces of Formal and Technical Difficulty

CONCERTOS:

12. Joaquin Rodrigo: Concierto de Aranjuez

13. Joaquin Rodrigo: Fantasia para un Gentilhombre
14. Mario Castelnuvo-Tedesco: Concerto in D
15. Mauro Giuliani: Concerto in A, Op. 30
16. Manuel Ponce: Concerto del Sur
17. Heitor Villa-lobos: Concerto for Guitar
18. Leo Brouwer: Concierto Elegiac
19. Leo Brouwer: Concierto de Toronto
20. Malcolm Arnold: Concerto for Guitar and Orchestra
21. Andre Previn: Concerto for Guitar and Orchestra
22. Claude Bolling: Concerto for Guitar and Jazz Piano

*the student may opt to perform the concerto either with piano accompaniment, chamber orchestra, or full orchestra.

End of Syllabus