I like to plan the class in advance, preparing what the student wants to study or what I believe is convenient to improve their guitar skills.
In the class, we can also work on the classical guitar repertoire, read sheet music, and other topics deemed necessary to complement the student's knowledge.
On the other hand, regarding specific music-related issues, I also propose working on the following topics:
Harmony:
• Circle of fifths
• Chord progressions, treatment of dissonances, types of cad...
I like to plan the class in advance, preparing what the student wants to study or what I believe is convenient to improve their guitar skills.
In the class, we can also work on the classical guitar repertoire, read sheet music, and other topics deemed necessary to complement the student's knowledge.
On the other hand, regarding specific music-related issues, I also propose working on the following topics:
Harmony:
• Circle of fifths
• Chord progressions, treatment of dissonances, types of cadences.
• Major mode
• Minor mode (use of obligatory moving notes)
• Interdominants/secondary dominants/chords of the first circle of fifths.
• Chords belonging to the subdominant minor region.
• Third relationships.
• Augmented sixth chords (German, Italian, and French) and their relation to the tritonal substitute.
• Tensions in different chords.
• Use of diminished chords.
• Greek modes (major scale, harmonic minor, melodic minor, other scales).
• Modal interchange.
• Polychords.
• Modality (pedal point, superstructures) (according to Miller).
Counterpoint:
• Resolution of different dissonances.
• Counterpoint in 2 and more voices.
• Avoiding parallels.
• Ornamental notes (retardation, anticipation, changing note, etc.)
• Invertible/retrograde counterpoint.
• Canon.
Guitar arrangements: In addition to the elements worked on in both harmony and counterpoint.
• Chord melody (analysis of jazz standards)
• Phrasing (articulations and fingering as fundamental elements).
• Chord inversions/voicings/drops.
• Use of guitar textures and timbres.
• Voice leading on the instrument.
• Choice of keys for the arrangement.
• Analysis of arrangements and transcriptions (Lobet, Dyens, Bellinati, among others).
• Use of Sibelius for editing and formatting scores and tablatures.
Regarding my education, I hold a Bachelor's degree in Guitar from the National University of Rosario (Argentina). I started by studying jazz-related harmony, improvisation, and guitar arrangements, which complemented my classical training.
