Building a School Guitar Ensemble Program

Guitar ensemble should be an essential part of any classroom study, providing experiences not available from solo study.  The benefits are numerous:

  • Community Building and Teamwork. With regular rehearsing, players bond into a community of musicians, working collaboratively toward a common goal.  Over the long term, this creates lasting friendship with like-minded musicians.
  • Concentration and reading. The ability to concentrate on one’s own part while interacting and listening to others builds a high level of musicianship.
  • Musical expression.  While expression should be taught early on, it’s not always easy for beginners to execute.  With large numbers of players, expression is heightened; it’s easy to hear and respond to changes of dynamics and tempo, even to a nuanced degree.
  • Rhythmic Development. Early stages of solo study are often technique driven.  Students work on etudes to develop scales, arpeggios, etc., often with minimal rhythmic challenge.  In ensemble more irregularity may be present, forcing students to command rhythm through the clarifying procedure of counting and clapping.
  • Following a conductor. This skill develops group cohesion and is more critical when working on advanced levels of music involving cued entries and varied musical expression.

The question is, when should guitar ensemble first be introduced?  With grade appropriate music, the answer is the sooner the better.    For example, the trio shown to the right (click to download) has been written for raw-beginners who have only been playing the guitar several weeks.   All parts are to be played with p, to minimize right-hand distraction and there are no disjunct leaps involving non-adjacent strings.  The trio uses only 6 notes on strings ④, ③, and ② in open position, with only 3 left-hand fingered notes.  The rhythm is limited to whole, half, and quarter notes.  In addition, this work address different levels of players simultaneously: Guitar I is the most melodically and rhythmically active–range G-D; Guitar II is somewhat less active with a narrower melodic range, G-C; and Guitar III is the easiest with just 3 notes, D, G, &A.

Download Trio No. 1 Listen

Most groups have a mix of players—some, more skilled than others—so this type of labor organization is helpful, even in advanced ensembles.   

While most students enjoy ensemble, spending too much time on it in the first year can distract from the foundational goals.  If your school offers at least a two-year sequence (Guitar I and II), consider allotting regular ensemble time in Guitar II.  Even better, establish Guitar Ensemble as its own class.

Guitar Ensemble Class

Success of the ensemble is limited only by the energy you give it and how much your school and community supports it, which should be a lot, since it’s a win-win situation for everyone.  Obvious benefits are:

  •  Performance outreach and presence.
  • Participation in All-State, regional and out-of-state festivals.
  • Student recruitment and increased participation in your program.
  • Parent (and potential financial) support.
Equipment

The ensemble instrument of choice is the classical nylon-string guitar (such as an entry-level Yamaha CG40 or Cordoba C5) It’s the most comfortable for seating and, with a properly positioned neck, allows optimal L.H. reach on the fingerboard.  Classical right hand uses nails for tone quality and projection. The technique can easily switch between single-line melodies, arpeggios and chord strumming, making it best for a diversity of musical repertoire and styles.  

While a steel-string acoustic guitar played with a pick is great for strumming, picking can be difficult across non-adjacent strings.   In addition, acoustic guitars can be cumbersome in a seated position.  In addition to its longer neck, its width at the lower bout can be anywhere from 16”-20” (as opposed to a classical guitar width of around 14.5”).  

This brings up another important issue: smaller players should use a ½, ¾, or ⅞ guitar that correctly fits their body size.    A full-size acoustic guitar on a small body can throw off positioning and body alignment which may negatively affect the left-hand’s reach on the neck.  

To ensure proper body positioning, students need some kind of seating appliance (foot stool, ergo play, strap, etc.) that angles the guitar neck at about a 45° from the body.  This provides best left hand/arm joint alignment as well as optimal finger access on the fretboard.   An electronic tuner is a must for all ages and levels of ensemble (especially in groups with inexpensive entry-level guitars) and assures that intonation stays on target for both rehearsals and during the critical performance time.

Building a School Guitar Ensemble Program

Classical Guitar

Prerequisites

Ideally ensemble class (especially in high school and college) should be for upper-level students who have already learned technique and reading foundations.   They should be able to:

  • read music (not TAB) in the open position and rhythmically have basic-strong beat command from quarter to sixteenth values.
  • properly position the guitar and basic coordination of all left-hand fingers, with dyad-, triad-, and some chord-pattern recognition.
  • (classical technique)  play rest stroke, free stroke, finger alternation, string crossings, and strum.  
  • (acoustic technique) play flat pick (with down-up alternation)  and strum.
  • Lastly and ideally, know basic fingering rules.  For example, when playing fast passages classical players should know to avoid repeating the same R.H. fingers; acoustic players should be alternating the down/up of a pick.  All guitarists should know legato L.H. fingerings, avoid playing the same finger on the same fret on two different successive strings.   

On the issue of TAB— What seems to directly impact the “legitimacy” of school guitar programs is whether or not they teach musical literacy.  Yes, tablature is tempting to students; it offers visualization power and an immediacy of music connection, but it does little to nurture musical understanding and musicianship.  And while there are more and more guitar music publishers looking to sell to TAB customers, it’s definitely not a healthy direction for guitar education.  TAB disconnects with understanding harmony;  it closes off access to a wealth of standard notation repertoire as well opportunities to play with other instrumentalists and vocalists. 

If your students are currently TAB dependent, there are plenty great method books (like the Shearer Method) that teach music reading.   It’s an initial investment of time, but well worth it in the long run.  As students learn note names, they can apply their knowledge to simple beginning-level ensemble works.

Classroom Expectations and Evaluations

Since ensemble is performance-goal oriented, students need to know at the outset of the school year when concerts are scheduled and commit to them.  Nothing is more frustrating than a student telling a director before a concert that they can’t play because it conflicts with family travel plans. To prevent the issue, be pro-active with parent communication at the start of the year about all performance expectations.   If parents can’t commit, then ensemble may not be the best fit for their student that given year.   The policy may seem too hard line, but it best safeguards the work of everyone invested in the ensemble over a semester and ensures that performances aren’t compromised. 

Guitar ensemble is one of the best activities of project-based learning, and its very nature motivates students to do their best.  Obviously performance deadlines inspire students to practice (especially as they get closer to concert date), but ongoing graded evaluations also motivate and boost your students’ response to repertoire challenges.  How much evaluation depends on the amount of rehearsal time a director can spare.  Some directors may spend an entire semester rehearsing a program with only one lump-sum, subjective assessment per student, per quarter.   

Another, more accountable strategy may be to  integrate ongoing repertoire challenges with skill-building tasks. For instance, March from the Anna Magdalena Suite written in D major may be your students first experience playing in Position II.  During daily warm-ups, teach the Position II, D-major scale and then assign it for a quick grade. In addition, you could periodically assign several March segments or phrases for a quick evaluation.  Integration with the repertoire is the key.

 

Tips for a Great Sounding Ensemble

Tune it up!

Nothing hurts an ensemble’s performance more than out-of-tune guitars. Your players may work months to prepare, but with out-of-tune guitars, a performance is instantly jeopardized, no matter how well the piece is executed.
The simplest solution is to have guitarists tune quietly on stage using an inexpensive clip-on tuner (preferably attached on the headstock).  In addition, and if possible, do a group tuning check, listening to each string.  A suggested string order is: ③, ④, ② listening to the G-major triad, then ①-⑤ to hear the P5, and ⑤-⑥ to hear the P4.  Finally check the low D ⑥ for scordatura guitars.  Since this string tends to go sharp, remind low-D players to tune below the note, wait a minute, then tune it up.   Lastly, give special attention to the intonation of the B ② and E ① strings.  These strings tend to carry most of the melody and will produce an audible, unpleasant “beating” if out of tune.

#2 Rest Stroke it!

An ensemble that’s able to perform with volume and full-bodied tone has a great deal of expressive potential.   Many ensemble parts consist of single lines as in melodies, counter-melodies, and bass lines.  Some guitarists may be inclined to play these with free stroke, especially if they’re more accustomed to solo playing.  While free stroke is definitely needed for passages with arpeggios or 2-, 3-, or 4-note chords, it’s not so effective on single-lines.  The best technique for this is Rest stroke, where the finger firmly strokes in a somewhat downward and weighted manner.  For a great article by Kami Rowan on Rest Stroke, check out Exploring Rest-Stroke Position.

Warm it up!

Establishing a warm-up routine in your rehearsals that includes scales, right- and left-hand exercises, dynamic expression, coloristic techniques is helpful in preparing the player for expressive challenges encountered in the music.   For example, scales may be practiced with dynamic crescendo, then again with color variation such as ponticello, tasto, or pizzicato.  Try to begin each practice with warm-ups that include some of these expressive qualities.

Add bass!

Including a contrabass or some type of a bass guitar into your ensemble is a game changer.   Contrabasses have either 4-or 6-wound nylon-strings.  It’s basically a large classical guitar with each string sounding an octave lower than a standard guitar (2 octaves lower than written).  They are available from Esteve or Aria and are absolutely beautiful, but pricey (anywhere from $2,000- $3,000).  If it’s not in your budget to purchase one, try an electric or an acoustic bass.   If you use electric, be sure to adjust the amplifier so not to overpower your guitars!  Lastly, if you can’t purchase a bass instrument, then consider thickening up the low-register by adding more players on the bass part. 

Setup!

An ensemble’s seating arrangement directly affects how well guitarists hear one another in rehearsal and on stage.  When rehearsing, avoid gaps of empty space around players, setting players close but comfortably together.  If ensemble parts have been arranged in registers, then situating the bass in the middle can be ideal. As the foundation of harmony, it’s the ensemble’s “acoustic pillar,” so place it central and perhaps in the back so everyone can hear.  Also, depending on the stage size and acoustics, an overall horseshoe configuration may be preferred to the traditional crescent. The horseshoe allows front-row players to almost face one another, and thus hear better.  If you go this route, try using a matched pair of pencil condenser mics (such as the Rode NT5’s or Shure KSM 137’s on a stereo bar) for sound reinforcement to the audience.

#5 Setup cont.

All music at GuitarEnsembleMusic.com is arranged top down by register, with Guitar I (and Requinto) the highest and Guitar V with (6) = D, the lowest. A large ensemble of 15 + might use the following seating diagram:

A smaller ensemble might use this config:

Music Selection

These days, there’s no difficulty finding good guitar ensemble music.  Good selections should be edited with fingerings to clarify any uncertain passage—R.H. indications for alternation, string crossing, and arpeggios; L.H. indications for shifts and legato connections.    Without fingerings  your players may be confused and slow to learn even simple passages.  Directors should clarify as much as possible before distributing parts, or early on in rehearsals.    Sometimes just a little indication, like a R.H. start finger or picking direction of scalar passage, is all that’s needed.  

For example, without fingering the following open-position passage may be misinterpreted with a repeated finger:

…or, interpreted with alternation, may begin with m (middle), forcing unnecessary arm shifting:

Due to string crossings between Dκ to Eϕ, the most efficient start finger is i (index), which maintains a steady R.H. position.

Guitar Effects and Colors!

Seek out arrangements that showcase the guitar’s color potential and avoid those that merely focus on transposing the work to a simple key, fitting all parts to the guitar’s 3-octave range, and creating single-line parts playable by any instrument.   If you’ve chosen something like this, take a little artistic license and add some pizzazz—coloring the phrases; perhaps repeating a phrase from ordinary to ponticello, tasto, etc.; or using pizzicato in a section.   If it’s an early music arrangement (e.g. Renaissance), take liberty with colors and effects that might be historical performance practice, such as strumming and Guitar percussion. Consider the multiple ways the guitar can be played:

  • Strumming—with nails, with flesh, rasgueado (flamingo style), rhythmical, tremolo.
  • Pizzicato (palm muted) played with p in low and middle registers, played with fingers in highest registers.
  • Harmonics—single, chords, artificial, natural, slap harmonics.
  • String Coloring—Ponticello (playing near the bridge), Ordinary (over the sound hole), Tasto (over the neck).
  • Glissando.
  • Scordatura—re-tuning strings from standard.
  • Guitar Percussion—one or two-handed tapping on the soundboard, bridge, sides, string slapping down strum, tambura—slapping strings over the sound hole.

  • Campanella (playing sustained scalar or melodic passages on adjacent strings like a harp).

Overview of Ensemble Levels and Sample Repertoire

Ideally, a program should have at least two levels of ensemble— a lower, open to all guitarists, and an upper, open by audition or invitation only.  Both levels should perform twice a year for your school community, but the advanced (honors) level should perform as much as 4-5 times a year, possibly in the local community, area festivals, and even out-of-state events.    

 

Regardless of your program’s design, all students progress from beginning, to intermediate, to advanced music.  Following is a general description of levels supported with repertoire excerpts from the  Guitar Ensemble Music.com catalogue.    Within each level, selections include built-in diversity for different abilities of players.  For example: 

  • Guitar I: an upper-register part—hardest level of difficulty.
  • Guitar II: an upper/middle register part—medium level of difficulty.
  • Guitar III: a middle register part—easiest level.
  • Guitar IV: a lower/middle register part—medium level of difficulty.
  • Guitar V: a lower-register part, often with ο tuned down to D—medium level of difficulty.

Beginning level

Music should be predominantly homophonic in the open position with limited guitar effects.  Rhythmic complexity may be limited to simple meter music with strong-beat patterns, subdivided to at least the 8th note.  Simple guitar keys—C, G, & D major, A and E minor. 

The Shaker tune, Simple Gifts is a great entry-level work. Notice the conjunct melodic motion and mostly homophonic texture, with a little countermelody in Guitar II.  Guitar I is the most active and Guitar III is the easiest, staying on strings ④ & ③.  Guitarists with less developed right hands could play any part with p (thumb) only.   The simple four-measure structure following the melody’s contour, make this an easy work to hear and express dynamically.

Intermediate level

Music may include all textures and incorporate all guitar effects.   Rhythmic complexity may be limited to simple and compound meters with upbeat, tied, dotted and syncopated patterns as well as subdivisions to the 16th, and 8th-note triplets.  Repertoire typically stays in guitar keys—C, G, & D major, A, D and E minor.   Much of the music may be in open position, but some parts (especailly Guitar I) may occasionally reach into higher postions.   To supplement higher position reading and playing, teaching the five transposable fixed-position scale forms should begin.

Afro-Cuban Lullaby is mostly homophonic texture with a countermelody starting at m. 5 (Guit II).   Rhythms are simple but include some off-beats and ties.  As with most D major keys, playing is best suited in II position; the Guit I melody at. m. 5 shifts to VII pos, indicated by A on ② (to be played on fret X).   Writing is slightly disjunct including arpeggiated chord or melodic skips.  Notice the low D (scordatura) in Guit V as well as pizzicato (Guit IV and V) , harmonics (Guit II and II) , glissando (Guit I)  and occasionally chords (Guit V).  The least challenging part, Guit III, consistently plays on strong beats (as opposed to Guit IV offbeats).

Advanced level

Music may be longer and multi-movement, incorporating all textures and meters with all levels of rhythmic subdivision and a variety of tuplets.  Music requires full knowledge of the guitar’s fingerboard.   Music may be in any key, as well as modal, pantonal, chromatic, or atonal and written in any position, with Guitar I and II most active in the highest position.  

La Vida Breve is a complex textural work, incorporating a full array of colors–rasgueado, pizz, tambura, harmonics, ponticello, etc.  Notice an overall register expansion—the added contrabass part (sounding 2 octaves lower than written) and requinto part (sounding a 4th higher).  For ensembles without requinto, the piece is available with re-written upper parts as Guitar Ia and Guitar Ib (hardest parts).  Also notice the active use of tone color—switching between ponticello and ordinary in Guit IV, and III.  DeFalla’s idiomatic guitar writing transfers well into Guit II which alternates between strings ② & ①.   Here again, Guit III is the least challenging of all parts.