Guitar Forum 2 has contributions from Julian Bream, Sarn Dyer, Lorenzo Micheli, Fabio Zanon & Luis Zea.
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Mauro Giuliani’s Guitar Technique & Early 19th Century Pedagogy
Lorenzo Micheli
24 pages, 20 musical examples
Mauro Giuliani & Early Nineteenth-Century Guitar Pedagogy (Lorenzo Micheli). A detailed exploration of what is known about the techniques and teaching of Giuliani, in close comparison with Carulli, Aguado and Sor. Lorenzo Micheli’s discussion runs the gamut from basic technical issues to the musical gestures implicit in each guitarist’s approach, addressing fingering for both hands, tone & colour, phrasing & articulation, pointing out both the similarities and the stark contrasts. Some twenty musical examples illustrate the various points made.
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How to write for the guitar
Julian Bream
8 pages, 11 musical examples
How to Write for the Guitar (Julian Bream). To mark Julian Bream’s seventieth year, a reprint of the 1957 article which preceded his historic series of collaborations with leading British composers. Mr Bream has provided a short preface especially for this issue, placing the article in the context of the time.
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On Teaching The Unteachable
Luis Zea
27 pages, 4 illustrations, 4 musical examples
On Teaching The Unteachable (Luis Zea). How should one teach in such a way as not only to instruct, but also to bring about an awareness of elusive – yet essential – values in music making, whilst stimulating the student to find personal and creative solutions to problems? How should one prompt that unmistakable, enlightening ‘click’ within a student, and indeed ourselves? Luis Zea suggests that these questions can inform all levels of teaching, and shares the fruits of his own encounters with many influences, from the teaching of the pianist Artur Schnabel to the thought of Karl Popper; from the theatre of Antonin Artaud to the insights of Eastern traditions. The many sources cited act like signposts for further exploration.
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A lesson with Ida
Sarn Dyer
10 pages, 6 illustrations
A Lesson with Ida: an imaginary interview with Ida Presti (Sarn Dyer). A re-evaluation of the implications of Presti’s astonishingly facile and expressive technique for present-day musical expectations of the guitar, entertainingly cast in the form of an imaginary interview. A discography of Presti’s solo and duo work (with Alexandre Lagoya) concludes the article.
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Mignone, Fernandez, Guarnieri: Brazilian guitar music after Villa-Lobos
Fabio Zanon
Mignone, Fernandez, Guarnieri: Brazilian guitar music after Villa-Lobos (Fabio Zanon). There is a rich repertoire of Brazilian classical music for guitar, produced by three generations of Brazilian composers after Villa-Lobos, many of them established composers in symphonic and chamber genres. Yet this music has remained largely unknown outside Brazil. Fabio Zanon focusses on the generation immediately following Villa-Lobos, and gives a full account of the contributions of Mignone, Fernandez and Guarnieri, examining all their works in depth. Much space is devoted to a fascinating account of the growth of classical music in Brazil and the forging of a Brazilian national style, and this goes some way towards explaining the neglect of these composers. Finally, there is an extensive list of important Brazilian guitar works for solo and ensemble from the past fifty years that deserve wider circulation.
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