Most guitar teachers have a book or method they prefer to use when teaching beginners. They may use many books, but there is usually one main book that they rely on, which may change over the years. Over time, of course, I also found my favorite books for teaching beginners.

Being an author myself, it would be logical to choose my own book because I wrote it with great passion and care—and because I wrote an amazing book like no one before me, etc. I can’t be more sarcastic!

No, I don’t prefer my book—I don’t even use it in my daily teaching. I use it sometimes, but not regularly. It all comes down to choosing the right book for a particular situation. In other words, which book meets most of my requirements? Will it provide both my student and me with a methodical and gradual presentation of guitar techniques and musical knowledge? Does it have enough engaging examples for practical application? Is it well-structured so we can build on it over time? And most importantly, does it align with the student’s abilities, age, temperament, and so on?

Teaching beginners is a tricky business, though one might think it’s easy because the students have never played guitar and know little or nothing about it. Yes, it’s true—you’re working with people who have almost no knowledge of the guitar. But it’s our professional responsibility to teach them in the most appropriate way—not just to instruct, but to motivate and nurture them.

A beginner, regardless of age, is like a child learning to walk. It’s our role to guide them through each step, providing the right tools and encouragement to help them grow and build confidence along the way.

In this article, I will share some criteria I use to find the right beginner’s book for different situations. I’ll present three scenarios: a five-year-old student who has never played guitar, a teenager who attended a one-semester guitar club and knows how to strum a few chords, and an adult 50 years old, who has never played guitar.

Scenario 1: A Five-Year-Old Student Who Has Never Played Guitar

Should there be a book for a 5-year-old that I can just pick up and start using in my teaching when I have such a student? The answer is certainly “Yes.” There are books available. For example, my book The Guitar Explorer – Book 1 is designed for 5 to 7-year-olds. Can I use it? Yes, I can, but let’s see how the first lesson goes and I will decide shall I use it or not.

During the lesson, I find that the student has difficulty pressing down the string one on the first fret. Here is the first problem with my book. In it after introducing the first three open strings, I go on to introduce the notes on string one: E, F, and G. What does this mean? it would be inappropriate for this student to use my book at this point, because their first experience with the left hand will likely lead to pain and frustration, especially when they can’t play the F note from the start. In this case, I would not hesitate to switch to Peter Nuttall’s The Guitarist’s Way Book 1 or any other similar method that starts with string three.

But if the student struggles initially with coordination, the size of the guitar, or if the student’s character is more kinetic (which can make it harder to coordinate left and right hands), my book might make more sense. Another factor to consider is the edition and the quality of the book. If the student is more visual and enjoys looking at pictures, we might need to find a book with more illustrations. In fact, all children like pictures so a book with more pictures will always be right.

Scenario 2: A Teenager Who Attended a One-Semester Guitar Club and Knows How to Strum a Few Chords

In my opinion, this is one of the more challenging situations I can encounter in the classical guitar teaching world. I can tell you with high certainty that it will be difficult to convince this student to switch to classical guitar. In their mind, playing guitar means strumming chords and playing songs, and that’s what they want to do. Often, they’re encouraged to take a few classical guitar lessons to “grasp” the basics for a couple of months. Once they’ve done that, they may feel they’re ready to move on to what they perceive as the “real stuff”—playing electric guitar, which they’ve been taught is “more advanced” than classical guitar. The greatest guitarist, in their eyes, is usually a rock star or someone from a popular band. Shifting this mindset is a challenge.

It’s difficult, but not impossible. The best approach I’ve found in this situation is often to take a step back for a while. This student has a clear idea of what playing guitar should be, what lessons should involve, and what the outcome should be. So, I don’t try to change their posture or jump into teaching them music notation right away. I need to be patient and let them explore tabs and chord charts on their own, as even changing chords might be a challenge at first. I don’t ask them to play slowly or impose a specific tempo when we play together— I try my best to follow their pace instead. I don’t ask them to count, and at this point, I don’t try to dictate what’s “important” or “not important” in their learning process.

At this stage, I don’t need a specific book. The most important thing is to listen and let them explore. I wait for them to finish strumming random chords or open strings and engage in their conversations about the songs they want to learn. I offer thoughtful responses when they ask, “When are we going to play that ‘song’?”

Eventually, I might earn their trust, and only then can I start thinking about introducing a method or a combination of methods to guide them toward a more structured approach to learning music.

Scenario 3: An Adult 50 Years Old, Who has Never Played Guitar.

When teaching adults who have never played guitar, I’ve found it’s important to approach their learning with patience and care, especially when it comes to choosing the right book. Adults tend to appreciate structure and clear, logical progression, so I look for books that introduce classical guitar techniques gradually, starting with the basics like hand positioning, posture, and finger movements. The book should have a methodical approach, with exercises that build on each other, and provide clear explanations to ensure the concepts are understood at each step.

While teaching children and teenagers can often involve some level of standardization in approach and methods, teaching adults requires a more individualized approach. Adults are typically well-established individuals with their own set of experiences, beliefs, and life skills that have shaped how they understand the world. This understanding has been formed over decades of personal and professional experiences, making it crucial for me, as a teacher, to recognize who the adult student is and tailor my approach accordingly.

Every adult brings something unique to the table—whether it’s their level of discipline, their past experiences with music, or their approach to learning new skills. Therefore, understanding the adult learner’s personality, motivations, and learning style is key to creating a productive and meaningful learning experience. Whether the adult is learning for personal enjoyment, professional goals, or as part of a broader educational pursuit, taking the time to assess their individual needs and goals ensures a more effective and fulfilling learning process.

For adult learners, I choose books that offer a balance between foundational exercises and enough content to keep them engaged without overwhelming them. I also prefer books with detailed visual aids to help them along the way, as adults may take a little longer to develop muscle memory. A good method should focus on classical technique, allowing them to master the basics and develop a strong understanding of the instrument before moving on to more advanced material.

For example, my own “Classical Guitar Course for Adults” series (Levels 1, 2, 3, and 4) is the result of decades of experience teaching adults, and I’ve designed it to be a step-by-step guide that gradually builds their skills. In addition to my own materials, I also use methods from classical guitar masters such as Matteo Carcassi, Dionisio Aguado, and Ferdinando Carulli. Some adults prefer to study directly from these classical masters, as they offer time-tested techniques and exercises that can deepen a student’s understanding of classical guitar. By combining these traditional methods with my own, I aim to give adult learners a well-rounded and effective foundation.

in Conclusion

The most important aspect of teaching classical guitar is to understand each student and meet them where they are. By considering their background, experience, and learning style, I get the opportunity to guide them more efficiently step by step in the appropriate direction. Structured lessons that are tailored to their needs help make the learning process more enjoyable and rewarding.

There are many method books available, each suited to different learning styles and levels, and it’s important not to limit myself to just one or two methods. A broader approach allows me to select the best resources for each student, helping them progress at their own pace. Ultimately, being open to different methods and approaches makes the learning experience more effective and enjoyable for the student.