In school music programs, children who sing, or who play strings, brass, wind, reed, and percussion instruments, can join a variety of ensembles. But few ensemble opportunities exist for guitarists, who typically find a single open spot for their instrument in the jazz band. A high school may offer a guitar club during the activity period, but this kind of informal program is not the equivalent of orchestra, band, and chorus, which are often graded activities for which the student receives credit toward graduation.

Ensemble playing was an important part of my musical background. In order to play guitar in jazz band I had to be in marching/concert band, in which I played cymbals, bass drum, and bass trombone. Our jazz band gigged at formal dances, and the marching/concert band even toured Europe! This background proved its value in college when I encountered my first guitar ensemble. I was quite comfortable performing with the group, following a conductor, and sight-reading music. What a thrill to be able to play not as part of a rhythm section, but as one of the main instruments! These experiences benefited my musical growth in ways that solitary practice with my guitar could never have achieved.

In my view, the benefits of ensemble performance should be made available to all guitarists. Whether you are a private studio instructor or teach in an academic setting, creating a guitar ensemble can appear to be a daunting task. Here are some observations and advice from 25 years of teaching and directing my own guitar ensembles.

Ensemble size. You can’t effectively play quartet literature with three players, but you can play a trio with a dozen guitarists! Having multiple players on each part is standard practice in the string orchestra. It works wonders to add richness to guitar music, too.

Ability level. In the school system, students are grouped according to grade and age, but the guitar ensemble need not follow this protocol. I have found it necessary to mix ages and ability levels, and with a little creativity, I have discovered ways to challenge advanced players with the simplest of materials. For instance, I ask them to play the music in a different position or without using open strings, to transpose the music 8va at sight, or to add harmonics if appropriate.

Conversely, a difficult chord section can be made easier with the use of a capo. If the piece is in the key of C major (using C, F, and G chords), the student can read and perform the part in A major (using A, D, and E chords) with a capo at the third fret. Of course the C-major chords need to be transposed down a minor third to A major, but with a computer and notation software (try Finale Notepad, available for free at www.finalemusic.com/notepad/), this is no longer the time-consuming chore it was in the past.

Age. High school students rarely find “Hot Cross Buns” to be compelling repertoire. Select music or arrangements of music that will capture and maintain interest.

Instruments. Instrument choice may be influenced by student age, repertoire, teaching circumstance (private or classroom), and performing venues. I have found the most functional instrument in the under-$200 category to be the acoustic-electric Ovation AE28. It has good intonation, is easy to hold for smaller students, has two strap buttons (I regularly have students stand to play), and is very durable--an important consideration for classroom instruments.

Musical style. I’ve encountered guitar ensemble literature of all styles. A plentiful source can be found in transcriptions of two-, three-, and four-part vocal music from the early Renaissance era, and chorales from the Baroque period. This provides a wonderful exposure to music that would not often find its way to guitarists’ ears. Adaptations of classical themes are easy to locate. I have played music originally written for string quartet, brass ensemble, or solo guitar, transcribed for guitar ensemble. I also have written ensemble arrangements of popular holiday songs, hymns, and songs by contemporary pop and Christian artists, and I’ve composed a simple blues tune and other material.

Instrumentation. Guitar ensemble music need not be limited to single-note lines. I often include rhythm guitar and bass parts, if appropriate.

You can create multiple rhythm guitar parts by having a second rhythm player use a capo and transposing accordingly. This is a common technique in recording studios to add body to the sound and is most effective in live performance, too.

Finding literature. The market for guitar ensemble music is a fraction of that for other instrumental groups, but it’s growing all the time. A surprising number of people have chosen to share their music for no charge. Sources of fee-free music include Finale Showcase (www.finaleshowcase.com/showcase), Sibelius Music (www.sibeliusmusic.com, click on the Educational tab), and Derek Hasted (www.derek-hasted.co.uk). Well-known commercial publishers, such as Mel Bay, Hal Leonard, and Alfred Publishing, include guitar ensemble literature in their catalogues. A search of the Internet will reveal a wide variety of literature from which to choose.

The virtual ensemble. What if you have students and music but don’t have a large enough rehearsal space? Or what if you are unable to coordinate schedules so that all participants can attend rehearsal?

In this situation, I use my computer to multitrack each student individually during our lesson time. This faux ensemble can’t play a recital, of course, but it still provides students with many benefits of the traditional ensemble experience. They have an incentive to practice, they hear how their part fits with the whole, and they learn how to play under pressure when the red record light goes on.

Parents appreciate this approach because it saves them time—no need to transport the student to additional rehearsals or schedule time to attend a recital. At the conclusion of the process the students are provided with a CD that includes songs recorded by all the other student ensembles. This CD is a great keepsake for parents as well as students.

Getting Started
In a beginners’ ensemble, we start with the six open strings and simple chords played on just the top three strings. I use a portion of the tune “Reveille” to introduce the open D, G, and B strings. It doesn’t require string skips, has a brief recurring motif, and is familiar to many. (“Taps” is another melody that can be used.)

The next step is to demonstrate the easy-to-play, one-finger G chord. Assign some students to perform melody while others strum the chord, and you have your first bona fide two-part ensemble!

For three parts, I use the round “Hey, Ho, Nobody Home” (for a free downloadable arrangement, click the link at the bottom of the page). The Guitar 1 part uses the open first string (E) and second string (B) for the first phrase of the melody. Guitar 2 plays an Em chord with the open treble strings, and Guitar 3 adds a touch of bass with the open sixth string. You can further expand the experience by having the students play their parts repeatedly (as an ostinato) while you play or sing the melody.

Randal G. (RG) Rhoades is the guitar instructor and ensemble director at the Milton Hershey School in Hershey, Pennsylvania. His music is available at www.music4classicalguitar.com.