My guitar teaching career has developed through various prestigious Italian music institutions, including the Scuola Civica di Musica in Vigevano (Pavia) and the conservatories of music “Francesco Cilea” in Reggio Calabria, “Stanislao Giacomantonio” in Cosenza, “Gioachino Rossini” in Pesaro, and “Luigi Cherubini” in Florence.
Within these environments, I have built and refined a teaching method that, thanks to my experience and artistic sensitivity, has enabled numerous students to embark on a solid musical journey based on realistic goals tailored to their individual characteristics.

At the heart of my teaching approach is a constant focus on *relaxation and ergonomic movement.* I believe that proper posture and tension-free playing are fundamental for achieving a natural, free sound and for sustaining a long-term musical career. Therefore, my lessons emphasize developing a physical awareness in young musicians that allows them to approach their instrument with control and without risks of strain or injury. The exercises I propose, carefully calibrated for progressive difficulty, consider each student’s physiology and structure, fostering a personalized development of guitar technique.
Another cornerstone of my method is the *gradual progression of learning phases.* I believe musical progress should be measured and deliberate. I promote a pedagogy of “small steps” that allows students to assimilate knowledge confidently, minimizing risks of overload and confusion. Through targeted exercises, studies, and carefully selected etudes, young guitarists learn the repertoire and techniques of the instrument in a structured way. This sequence supports their autonomy and artistic growth while also fostering their confidence and musical understanding.

Equally important is the *choice of repertoire,* spanning from classics of the solo and chamber music literature for guitar to contemporary works and, where possible, non-European repertoires. This approach encourages students to develop an open and inclusive perspective on music. Repertoire selection is based not only on the students’ technical level but also on their ability to understand and convey the musical and stylistic essence of each piece. In particular, I encourage the exploration of chamber music, as it offers a vital opportunity to refine musical sensitivity and the ability to interact with other musicians.

Finally, I strongly believe in the importance of a *carefully planned and gradual introduction to public performance experiences.* Facing an audience is a crucial moment in a musician’s development, one that should be approached with proper preparation and without pressure. With my guidance, many students have performed in public from their early years of study, through gradually planned and calibrated performances designed to enhance their interpretative skills and stage confidence.

My teaching activity thus goes beyond the instruction of technical and musical knowledge. It aims at the holistic formation of musicians, helping each student develop a strong and conscious artistic voice. My commitment to guiding students toward their Guitar Diploma represents a journey of personal and artistic growth, where every student has the opportunity to discover and nurture their talents, supported by a teacher who considers the human relationship an essential aspect of their work.

My teaching career in conservatories concluded at the “Luigi Cherubini” Conservatory in Florence, where I was able to complete my educational path with valuable contributions made possible by the L.508/99 Reform, which I actively supported from 1996 onward. This reform marked a turning point in the organization and deepening of musical studies, allowing me to develop the Guitar School’s curriculum in an organic and comprehensive way.

As part of this reform, I introduced advanced modules focused on the philological study of tablature , promoting an in-depth exploration of historical sources that brought new insight into the early repertoire. This work led to a detailed investigation of past techniques and performance practices, offering students an authentic and respectful understanding of musical traditions.

At the same time, I strengthened the modern dimension of guitar studies through improvisation, a field I consider fundamental for the training of the modern guitarist. Thanks to the L.508/99 Reform, improvisation was recognized and integrated into the curriculum, enabling students to develop spontaneous creativity and a profound understanding of musical structures.

These elements, incorporated into the Guitar School’s teaching path, enriched and completed a long educational journey. They allowed young musicians to grow not only technically but also interpretatively and creatively. My pedagogical efforts culminated in an educational proposal that was both coherent and enhanced by the principles of the Reform, providing a comprehensive and versatile preparation aligned with the demands of contemporary music.
Currently, I continue my teaching activity at the Scuola Eschilo in Rome, where I have the opportunity to put into practice the skills I have accumulated over time. This synthesis allows me to offer students a method that combines tradition and innovation, drawing on all the experiences I have gained over the years. With a versatile approach tailored to each student’s needs, I continue to promote a comprehensive education that integrates technical, philological, and creative elements, offering an organic vision of guitar study.

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articles:
■ L'universo microtonale di Alois Haba, n.20,
December 2000, Sonus, (Potenza).

■ Carteggio Vito Fedeli-Oscar Chilesotti. 1910-1916,
Musica/Realtà March 2008, n.85, Lim (Lucca).

■ Electronic Music Stand »

■ Electroacoustics Between Digital Sound and Analog Sound »