Basic Classical Guitar Method, Book 3: Guitar Book

Tennant's trilogy offers what most classical guitar methods miss: systematic progression through intermediate techniques without overwhelming the player. The inclusion of canonical repertoire by Bach, Sor, and Giuliani means students aren't just drilling exercises; they're building technique while engaging with music that matters.

Moving through this book brings real satisfaction as your hand discovers new terrain on the fingerboard. The pieces shift from elementary patterns into genuine classical voice-leading, giving your practice sessions tangible musical purpose beyond mechanics.

Guitarists completing Book 2 who are ready to tackle the intermediate techniques that open up classical repertoire. This book suits both self-taught students and those learning with a teacher who want structured, confidence-building progression.

• Isolate barres before applying them musically. Practice the barre alone on each string pair, then gradually add the melodic finger work once the barre sits cleanly.
• Record yourself playing passages that use hammer-ons and pull-offs. Listening back reveals whether your legato is truly smooth or if the attacks are still audible.
• Study the photographs closely when learning new positions. Finger angle and hand placement directly affect tone production at higher frets.
• Work grace notes slowly enough that you can hear each note clearly. Speed comes only after the technique is clean; rushing this phase builds poor habits.

Use Book 3 as your core text if you teach a classical guitar class or direct ensemble guitarists preparing for recital. The 48-page format allows you to integrate chapters throughout a year without derailing your performance schedule, and the Bach and Giuliani excerpts give students immediate repertoire for community performances.

• Barring technique across multiple finger positions
• Hammer-ons and pull-offs with rhythmic clarity
• Grace note execution and articulation
• Navigation of higher positions on the fingerboard
• Sight-reading in multiple positions
• Voice independence and baroque counterpoint (through Bach selections)