Learning the Classic Guitar is a new direction in guitar instruction. Many ideas in these books break new ground. In developing this innovative method, Mr. Shearer adhered to the following concepts: 1) How and what students practice is as important as how much they practice. 2) Give information only when it is immediately useful. 3) Start with the easiest skills. 4) Approach challenging skills gradually. Part one focuses on technical development and explains the most efficient approach to study and practice. Part two should go along with part one and it presents the elements of music and procedures for developing ability to sight-read and memorize. It also introduces the visualization concept. Part three teaches the student to form clear and accurate concepts of music expression. It also teaches the guitarist how to perform in public with accuracy and confidence.

The Oassic Guitar
"Classic'' or "Classical" Guitar?
Tuning the Guitar
Playing Condition of the Guitar
Determining the Action of a Guitar 
Choosing a Teacher
Approaching Guitar Study
Your Goal: Sharing Music 
Essentials for Performance 
Avoiding Habits of Confusion and Error
Aim-Directed Movement
Developing Sustained Concentration
Guidelines for Study and Practice
The Four Principles of Efficient Muscle Function 
Positioning the Guitar 
General Positioning 
The Five Ways of Moving the Guitar
The Right- and Left-Hand Position Checks
Adjusting Your Position
An Alternative to Using the Footstand Alone  
Tone Production
Principles of Tone Production
Tone Quality and Your Nails  
Nail Contours and Suggested Sha pings  
Beginning Right-Hand Training  
Terms and Symbols  
Right-Hand Positioning  
Rest-Stroke and Free-Stroke  
The Prepared-Stroke  
Training P: The Prepared Free-Stroke  
Sounding the Strings  
The Continuity-Stroke 
Beginning Left-Hand Training  
Before You Begin  
Left-Hand Positioning  
Left-Hand Movement  
Movement by Touch: Applying Aim-Directed Movement (ADM)  
Training the Right-Hand Fingers  
Training the Inactive Fingers  
The Prepared Rest-Stroke 
The Continuity Rest-Stroke  
Alternation of a Finger Rest-Stroke and r_ Free-Stroke  
Beginning Free-Stroke with Your Fingers  
Before You Begin  
Free-Stroke Considerations  
1-M Free-Stroke  
Tip Joint Considerations  
1-M and r_ Alternation  
1-M-A Free-Stroke
1-M-A and P Alternation  
Sym pathetic Movement  
ELM  
ELM-A  
El-M,A  
Alternation  
Beginning Free-Stroke Alternation: ELM, 
Left-Hand Considerations 
EL A 
Alternating 1 and M on Adjacent Strings 
Alternating 1 and Mon a Single String 
Principles of String Crossing   
Beginning String Crossing  
Clarity on Wound Strings  
Sounding a Single Note Free-Stroke on an Adjacent String  
Mand A Alternation  
Developing Right-Hand Speed 
Developing Independence through Opposed-Finger Sweeps 
Integrating Independence and Control  
Comparing Rest-Stroke and Free-Stroke  
Rest-Stroke Finger Alternation  
Sounding Three Strings Together with r_ and the Fingers  
Sounding Two Strings Together with r_ and One Finger  
ELM,A  
ELM,&M,1
Four Strings Simultaneously with f-1-M-A 
Further Left-Hand Training  
Applying the Principles of Efficient Muscle Function  
Developing Left-Hand Mobility  
Slurs  
Technical Slurs  
Types of Downward Slurs  
Further Right-Hand Training
Arpeggios without P
&MI  
LMA  
&MI,M  
I, A, MA 
& L MI
Conditioning and Coordination Exercise
The Importance of Stretching Exercises  
Procedure for Stretching Exercises  
Developing Muscular Coordination  
Coordination Exercises 
The Remedial Student  
Summary  
The Natural Approach 
Determining the Most Natural Approach 
The Misuse of ''Just Let It Happen" 
Summary
Economy of Movement  
Summary  
Repetitive Strain Inj-ury (RSI) 
Coordination and Counterproductive Tension  
How RSI Develops  
Musicians Who Develop RSI  1
Questions about RSI  1
Overcoming RSI  1
Summary  10
Avoiding Chronic Shoulder Pain  11
Learning to Recognize Correct Arm Movement  1
Procedure for Training the Right Shoulder  1