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Create programs that are entertaining. I always ask myself if I would like to come to this concert if I were a total stranger. A boring program is damaging to everyone involved.


Get help. I exist in part to help you succeed. If I can help


you with any planning or advice feel free to contact me at education@guitarfoundation.org


What Guitar Ensemble published collections do you like to work from?


I like any thing I can get my hands on. I am very impressed Productions Doz. I love the quality of their work and that if I need a piece instantly, and I often do, then I can just purchase the PDF online.


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 a half moon shape and multiple rows for large ensem- bles.


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


I think the continued growth of guitar programs in public and private schools is inevitable at this point. Everything we are trying seems to be working.


Kevin Vigil, Heritage High School. Leeseburg, VA


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


Team building is very important for a successful musical en- semble. It is important for the ensemble members to develop a sense of community and ownership in what they do. Each individual plays an important role in the success of a perfor- mance.


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


I start my students in a standard classical position. I en- courage my students to use the dynarette pad for their left leg instead of using a footstool.


fanatic and my students can play in different positions. For me there just has to be a well-reasoned argument from the student as to why the guitar works a certain way for them. It is important that students don’t just pick a position out of laziness or familiarity.


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


I enjoy many musical styles. I often play acoustic and elec- tric guitar and I think many popular sty`les lend themselves towards using picks. However, when you are asking stu- dents to sit in classical position I believe students students should be taught fingerstyle.


That being said I am not a


Most musical ensembles are not able to switch parts. Every vocalist has a particular range (soprano, alto, tenor, bass). All the musicians in a guitar ensemble have the same range. For this reason, I find it important for ensemble members to rotate parts from piece to piece. Every member of the en- semble will have the experience of playing melody, bass or harmonic parts. Students need to learn to lead, follow and support the musical interests in a given piece.


While the ensemble develops a sense of pride in rehears- als, it is important to build an audience for the ensemble. Sharing music with the community at large is a very reward- ing experience for students. It is very disappointing for the students when there is not much of an audience to support their efforts. I have found that the more I communicate with parents, the larger our audience. When the parents attend, so do the siblings and friends. This builds excitement. Hosting an after show reception help build the community as well.


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


When I inherited the guitar program at Heritage High School, we only had two levels of guitar: Beginning/Inter- mediate and Intermediate/Advanced. In addition, many stu- dents were placed in the wrong class. We now have four lev-


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