Your thoughts on finger-style rest strokes or the use of guitar pick (plectrum) within your groups?


We use both for color and effect.


What kind of thought do you put into setting up/seating your students in chairs for the Guitar Ensemble Perfor- mance or during rehearsals?


As they are learning a piece they sit with their section. Later they are mixed so that they can hear all parts.


Glenn McCarthy, Chair of the Guitar Council of the National Association for Music Education, Reston, VA.


Any words of wisdom from a Guitar Ensemble teacher you would like to share?


There are things that any ensemble shares in a performance. Precision, dynamic contrast, intonation, and tone are exam- ples of characteristics you would address in any ensemble.


What were some obstacles you faced when you first formed or inherited your Guitar Ensemble at your school?


Finding guitar ensemble literature in the 70’s was tough. I used everything from clarinet pieces to arranging pieces that the students would want to play. No Internet.


Your thoughts of “classical guitar seating position” or “right knee” for your groups?


Do you wear flip-flops when you’re run- ning a marathon, do you wear dress shoes at the beach? It depends on the guitar you’re using and /or the style of literature you’re playing.


Your thoughts on finger-style rest strokes or the use of guitar pick (plec-


trum) within your groups?


Depends on the piece. You wouldn’t play a bluegrass tune with fingers.


What are some performing opportunity highlights that your groups participated in?


Playing at the White House visitor center was a great expe- rience for my students. We would get a VIP tour after our performance.


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What kind of thought do you put into setting up/ seating your students in chairs for the Guitar En- semble Performance or during rehearsals?


I like to group the parts together but I change the part assign- ments on different pieces.


Do you have any special rehearsal techniques or ex- ercises that you would like to share with readers?


One thing that was successful was to have the students sing their parts.


What direction or positive thought about the future of guitar ensemble do you have that you would like to share?


There is a difference in guitar programs. Is it an introduc- tory class or does the program include multiple levels? More schools are offering the multi-level approach in guitar. Just as in band, orchestra or chorus if a guitar student has been playing for multiple years the repertoire will be more ad- vanced and guitar ensemble literature is perfect to develop a guitar student’s musicianship.


Matthew Denman, Director of Education for the Guitar Foundation of America, Austin, Texas.


Learn from master teachers in any music discipline. We have a great deal to learn from established band, choir, and orchestra programs. MD


Any words of wisdom from a Guitar Ensemble teacher you would like to share?


Find ways to collaborate with other teachers as often as pos- sible. This is a powerful way to advocate for your program. Don’t be an isolationist. If you are don’t be surprised when your program is the first one to be cut the next time your school is forced to “reorganize.”


Visit your principal often with good news and very rarely with bad news. You want your principal to look forward to your visits so that when the time comes your administration will go the extra mile to help you and your students out.


Spend a great deal of time working on your conducting. Use a baton – we are closer to a percussion ensemble than a string orchestra. Our attack has to be exact. Fingers and hands don’t cut it although you’ll see videos of me conduct- ing with my hands. I always lose my baton. : )


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