This arrangement comes from a solo version published in Matthew Hinsley’s book Classical Guitar for Young People. Students who enjoy this arrangement will probably enjoy the original solo piece, which requires them to play a combination of all three of the trio parts to create a similar texture and effect. In the trio version we’ve added a moving bass line, fleshed out some of the harmonies, and included a pizzicato indication.
Pizzicato (pizz.) is also sometimes called “palm muting.” It results in a short, muted, somewhat percussive sound. To teach pizz, instruct students to place the outer edge of the right hand (on the pinkie side) directly where the saddle meets the string at the bridge. Typically, p plays on the bass strings, and i, m, or a plays on the treble strings. Students should adjust their right hand position to get the optimal sound, choking much of the resonance from the string, but still allowing a discernible pitch to ring out. If the student uses too much flesh, the note is nondescript. If the student uses too little flesh, the note rings out like a normal (non-pizz) note.
In the section marked Slower, carefully model the new tempo and character. Pay special attention to the measures marked rubato and accelerando e crescendo leading to the return of Tempo 1 in measure 44. There are several syncopated figures in each part. Model these carefully, and then include a more intellectual way to break the rhythms into understandable parts through counting.
As with all pieces in the guitarcurriculum.com library- tone, dynamics, articulation, and ensemble are the most important elements. Isolate measures containing specific issues, model the sounds you want to hear, and then practice unifying the sound as a group.