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EVANGELOS BOUDOUNIS DEBUTTO (Method for Guitar)
[Guitar]
EPN 999
ISMN M-69151-044-5
Pages: 200
Size: 235 x 320 mm
While working on the "Debuto", I came across a unique difficulty. Unlike other books for the guitar I have so far produced, "Debuto" is adressed to beginners. Therefore it had to be re-written several times in order to avoid mistakes, especially those that can prove harmful to people with no previous experience of a musical instrument.
"Debuto" is not a self-instructing book. On the contrary, the presence of a teacher is considered of chief importance and is taken as a matter of course. That is the reason for the lack of theory in this book like in every other of my tutorial works.
You will also notice that this book exclusively contains studies. Although studies in this sense are much similar to other pieces of music in terms of conception and form, they serve one single purpose: to help students practice on certain technical problems so that they may easily cope with them during the study of various works. Another reason for not including other kinds of pieces in this book, is that I consider the teacher as the sole person responsible for chosing the right pieces of music as well as supplementary exercises, regarding each separate student's personality and needs.
The book is divided into two main parts. The First part consists of the Introduction -containing exercises for the right hand on the six open strings- followed by a series of exercises for both hands on each separate string, gradually combining the six strings altogether. Every group of exercises is followed by a number of Studies-duets of equal difficulty, for the student to play together with the teacher or some other advanced student. This will help the student realise the polyphonic nature of the instrument, having to play simple melodies as a beginner, and also aquire a sense of rhythm.
The second part consists of Twenty-four lessons, each one including a number of exercises on a different technical issue, and followed by a number of Studies for further practice. Between the two parts, I have placed a number of Rhythmic exercises (Prima Vista) plus the Twelve Ballads for two guitars technically based on the first part's exercises and duets. Notice that much concentration is needed here, as tonalities and rhythm become more complex.
Musical terms attached to ballads and studies of the second part (such as allegro, moderato etc.), as well as metronome indications, are not obligatory in case there is a different approach in interpretation.
E.B.
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