In this 1988 ASTA Pedagogy Forum column, Frank has gathered perspectives on "planting" techniques from guitarists David Tanenbaum, Manuel Barrueco, and David Russell.

This 1988 GFA Soundboard article outlines a systematic method for building right- and left-hand velocity on classical guitar—using dotted rhythms, speed bursts, staccato/planting preparation, string-crossing patterns, and rhythmic scale variations—to develop coordination, accuracy, and speed.

This 1986 GFA Soundboard article surveys and compares the differing right-hand positioning philosophies of prominent classical guitar pedagogues—including Pepe Romero, Aaron Shearer, Charles Duncan, Lee F. Ryan, Abel Carlevaro, and David Russell—concluding that while their methods vary in terminology and technique, they share common ground in muscular alignment and relaxation, with the "best" approach ultimately depending on each player's individual anatomy and preferences.

This guide walks independent musicians through the practical realities of releasing a recording—from planning, recording, editing, and mastering, through copyright and mechanical licensing, physical vs. digital distribution, graphic design, and CD manufacturing—drawing on his experience with Soundset Recordings to help demystify an industry that has shifted dramatically from CDs to downloads to streaming.

This article introduces "aim-directed movement" as a foundation for efficient left-hand technique, then presents a practical "bag of tricks"—pivot and guide fingers, weight transference, inverted fingerings, extensions, and thoughtfully placed shifts—illustrated with examples from Sor, Carcassi, Villa-Lobos, Barrios, and Giuliani, for solving common left-hand movement problems in classical guitar playing.

This Part II sequel examines barré technique in depth—covering notation for full and partial barrés, preparatory and hinge barrés, barrés formed with fingers other than the first, and cross-fret barrés—illustrating each with examples from Sor, Giuliani, Carcassi, Villa-Lobos, Bach, Tárrega, Llobet, and Barrios to show how these techniques solve otherwise difficult left-hand fingering problems.

This article examines how Bach himself transformed compound-melodic (single-line) notation from his violin and cello works into polyphonic notation when arranging them for lute or keyboard—using detailed comparisons of parallel passages to draw practical lessons for guitarists on voicing, articulation, and the balance between transcription and interpretive arrangement.

This article examines how Baroque articulation, note durations, and implied polyphony in Bach's lute and lute-related works should inform guitar transcription and fingering choices—addressing bass-line articulation, melodic versus harmonic fingering, octave displacement, chord re-voicing, and the interpretation of implied multi-voice textures—to help guitarists render Bach's music with historically informed clarity and expressiveness.

This article draws on Paul Creston's theoretical framework to distinguish rhythm from meter—explaining meter, tempo, accent, and pattern as separate components, and surveying Creston's five "rhythmic structures" (regular subdivision, irregular subdivision, overlapping, and their combinations)—illustrating each concept with guitar repertoire examples ranging from Renaissance vihuela music to Bach, Sanz, Bartók, and twentieth-century guitar works, to show how notation choices like hemiola, multimetric writing, and multiple meter shape performers' understanding of rhythmic structure.

This interview discusses the English-language recording of 18 selections from Mario Castelnuovo-Tedesco's setting of Juan Ramón Jiménez's Platero y yo, reflecting on why the work moved him, the challenges of translating and adapting the text and music (including editing the guitar part to fit the instrument's limitations), his selection process for the recording, and audiences' emotional response to hearing guitar and narration together.