aron Shearer, Professor of Classic Guitar at Peabody Conservatory in Baltimore for the past twelve years, has established a top quality program for guitar majors, both at the undergraduate and graduate level. An increasing number of extraordinary performers and pedagogs have come under the influence of Shearer, who in turn are beginning to affect and train the next generation of America's guitarists.
For these reasons it was enlightening to attend Professor Shearer's master classes at the University of Wisconsin (Milwaukee) - Milwaukee Guitar Society - Guitar Foundation of America -Seminar held on the UW-M Campus June 13-17.
Aaron Shearer has given a number of years to a very complete examination and analysis of how the physical human being functions in the performance of music on the classic guitar. During the course of the three-day master class, and his lecture on the final day, Professor Shearer described his search into the physical and the intellectual aspects of learning to play the guitar well.

The Laval Trio - Paul Gerrits, Claude Gagnon, Jacques Chondonnet - widely known for performances and published music. Their GFA Seminar Concert consisted of pieces by the Falla, Albeniz, Morley, Dowland, Cabezon, Maschera, Vivaldi, Scarlatti, Adamczyk and Gagnon.

In light of his description of generally accepted views pertaining to muscle function, a basis exists for formulating a sound physiological-mechanical approach to guitar technique. A muscle does not act alone. The simplest movement requires direct coordination of several muscles and to some extent, the complete muscular structure. Therefore, training a muscle to form new habits requires a change in many muscles before the new movement will become comfortable and dependable.
He said that it is understood that muscles may be trained to function in any position in which they may be moved, even though the position may be extremely awkward. But the farther they are displaced from their normal, everyday position, the more training they will require. And, regardless of the amount of time spent in training, their movements will always be less efficient than when used in a normal manner. The normal manner is what Shearer refers to as the 'mid-range' of the extension and flexion of the muscles.
His view is that playing the guitar well is not the most normal or natural thing to do, even for the greatest of talents. He pointed out as well, however, that it is not the only instrument that puts this type of demands on the body. "Think of the violin, the cello, the flute" he said. It takes much well directed discipline and study to train the interaction of the muscles; every effort must be made not to displace any muscle from its normal position of function any more than is necessary. Professor Shearer considers that the study of the principles of muscular interaction confirms the advantages of the 'mid-range' position in developing an effective guitar technique.
Since technique must be subservient to inspiration, he feels that it is necessary to explore first the necessary aspects of technique. During the master class various performers and auditors were able to take advantage of his assistance in trying his adjustments in the seating position of the individual. He had each person sit, and he then aligned the guitar, chair, arm, footstool, back, shoulders, elbows, wrists, etc. He indicated slightly different positions for people of different builds and heights. He described carefully what to watch for, how to measure, how to adjust, and most of all WHY these physiological aspects of technique will be beneficial in efficient motion of the player, and will not increase tension.
Professor Shearer's discussion of tension and the reduction thereof was of interest to the class.

Milwaukee Classical Guitar Society board members John Stropes, Peter Baime, and George Lindquiste.

As he himself demonstrated a good sitting position, and, as he guided each student in the class into a good position, pointers on tension reduction were brought up in regard to each limb and joint, as well as the all-important back. Professor Shearer's method aims towards maximum mechanical advantage which helps in minimizing tension.
Through his study with doctors, Shearer has learned that musicians make great demands on their muscles, because playing an instrument like the guitar is a highly repetitive activity; the fingers must basically repeat the same movement hundreds or even thousands of times in the course of a piece of music. Strain increases as well because many of the muscles are very small.
Shearer has been working out ways to evaluate acceptable levels of tension. In order to function most efficiently, a muscle must be aligned with its base and joint attachment, says Shearer. He made it clear that some tension is necessary of course in order to play at all, but it is the high level of tension in guitarists that causes problems. Because so many guitarists at all levels experience undue tension, Professor Shearer undertook his study and research into this field.
He likes to quote "Sensitivity is reduced in direct proportion as tension increases" -- his own words which will appear in his forthcoming book.
The principles he has developed for uniform direction of joint movement, and the application of aim directed movement of the left hand were presented, demonstrated and discussed.
Several students played for Mr. Shearer during the first two days. He discussed how the physical aims can affect their playing and that precise body position and movement can improve ability to express what a performer wishes to convey with the music.

Mr. and Mrs. Aaron Shearer

In the three days of the class, minimum attention was given to the interpretation of the music, and the development of repertoire was barely touched on. But, since Mr. Shearer is one of the few pedagogs who has researched far into the physical aspects of guitar playing via the medical field, it was of considerable interest and edification to those present at the seminar to spend the time very profitably in a hearing of his theories. He has devised exercises that gradually develop the necessary muscles and tendons to control and coordinate the many movements needed in guitar playing.
Other aspects that have been researched and worked into a total method for training the entire person as a whole were mentioned and touched on: rhythmic interpretation, advanced reading development procedures, right hand string crossing, possibilities of dynamics and their creation with the right hand, and performance memorization suggestions.
Professor Shearer likes to put his theories and their application into cogent quotes - which help the student to focus on the point of his presentation: "Accuracy cannot result from practicing error - continuity will not develop through repeated hesitation - assurance is not developed from confusion."
Those in the class were given much to think about, discover and explore further. A continuation of these studies may be possible soon: Professor Shearer anticipates the publication of a scholarly work on his extensive research in the near future, a work he has been writing for some ten years.