My teaching is student focused and creative while adhering to the highest principals of musicianship and interpretation. I teach technique, tone production, reading, theory and will guide you to structure your practice sessions for maximum results. I have successfully taught and prepared students for Associated Board Exams (UK) and can prepare you for professional and college auditions as well as professional recitals and performances.
Over the past twenty-five years, I have taught over five hundred students. Over fifty students have received BA or BM degrees in guitar performance and a good deal of them have gone on to Masters and Doctoral programs in guitar. I have trained students to be music teachers through the ABRSM in the UK and have had over one hundred students progress successfully through music exams. Several students are established teachers and performers in their own right and work in USA, UK, and Asia.
I am a guitar performer and teacher with over 30 years of experience in academic and performance institutions. I have extensive experience as both a guitar soloist and as a chamber musician, as well as experience with professional orchestras and opera companies. My experience in higher education thus far has been one in which I have strived to cater to and support my students—I have truly invested in their studies, and I am a dedicated teacher. I believe all students should be treated with respect and decency, and I am dedicated to upholding my commitment to professionalism, courtesy, and transparency to both colleagues and students.
1993 DMA - Yale University
1989 MMA - Yale University
1986 MM - Yale University
1982 B.A. - SUNY Stonybrook
1976 Associate of Arts - Suffolk County C.C.
GUITAR EDUCATION & STUDIES
North Indian Classical
- Studied Indian Classical Music under the guidance of Sri Vasant Rai at the Alam School of Indian Classical Music. Developed strong improvisational skills.
- Studied classical guitar with Jerry Willard at SUNY Stonybrook in New York.
- Studied with Eliot Fisk, Robert Guthrie, and, primarily, Benjamin Verdery whilst at Yale University.
- Studied with Sharon Isbin and Leo Brouwer at the Banff School of Fine Arts (Canada) winter cycle.
- Studied with Howard Morgan.
2015-present Inspire Music Academy, California – Guitar teacher.
2013-2015 Royal Conservatoire of Scotland - Acting Head of Creative and Contextual Studies. 1996-2015 Royal Conservatoire of Scotland - Lecturer in Music history, theory, and plucked strings.
1995-2013 University of Strathclyde - Lecturer in Music, Renaissance Studies, and Advanced Academic Studies. 2005-2015 Douglas Academy Music School - Music history and guitar teacher.
LECTURER - Royal Conservatoire of Scotland (formerly RSAMD) Sept. 1996 - Sept. 2015 (part -time: 19 yrs., full-time two yrs.).
- Served for two years as Acting Head of Department of Creative and Contextual Studies. I was responsible for all
administration of undergraduate courses and responsible for organizing lectures, supervision, history seminars, and tutorials.
- Conducted performance ensembles including Guitar Ensemble & Chamber Music. Taught guitar and lute including subject-related repertoire and teaching methods modules.
- Researched, designed, and taught new courses: “Writing about the Arts” & “Baroque Music and Ensemble”.
- Organized exams and results. Member of Board of Examiners for all music courses. Assessed all course work, performances, and materials. Provided mentoring, advice, and support to students.
- Implemented Conservatory research and involved in its publication.
- Trained 30+ staff in use of online resources (such as Moodle) and procedures for rapid assessment, and carried out staff appraisals for three years. Successfully prepared reports for senior managers as required including the Creative and
Contextual Dept. Review document and thrived through implementation of the Curriculum Reform process.
LECTURER - University of Strathclyde 1994 - 2014
- Delivered lectures, seminars, and individual music lessons while motivating students for higher-level qualifications and employment. Taught classical, jazz, popular, and folk guitar at both undergraduate and postgraduate level.
- Served as Head of BA Applied Music course for three years, and recruited and interviewed potential new staff/graduate students.
- Responsible for organizing University Research Day and public performances to give demonstrations of high-quality education and training.
- Managed 120+ students, 10 full-time staff, and 40+ part-time staff. Managed students by providing pastoral guidance and feedback to help them strengthen their skills and knowledgebase.
- Organized, implemented, and monitored programs and assessments using latest IT resources (such as Moodle). Involved in course team activities and curriculum development for students.
- Audition and interview panels for twenty years.
- Applied for external grants for research as well as receiving commissions for new works and performances. Conducted research that enhanced the University’s reputation as a research-led teaching institution.
- Taught both undergraduate and graduate levels including Ph.D. and Masters’ supervision.
- Founder of the Strathclyde University Guitar Ensemble.
- Created the University of Strathclyde/RCS “Guitarfest”/ “Big Guitar Weekend.”
EXAMINATION, CONSULTATION, AND ADJUNCT WORK
2015 - present External Examiner (Salford University)
2015 External Examiner - San Francisco Conservatory of Music guitar department 1996-2015 Guitar Examiner (Royal Scottish Academy of Music and Drama/RCS)
1996-2015 Adjunct Guitar (University of Glasgow) 2012 Post-Graduate advisor for Engage
2011-12 Consultant - Research Day (University of Strathclyde) 2005-6 External Examiner (Napier University)
2003 Harp/Guitar Competition Judge (Royal Dublin Society) 1998-2000 Dundee Guitar Festival.
1997 Yale University Guitar Panelist.
1996 Examiner in guitar (Guildhall School of Music and Drama) 1995-2008 Mentor (Associated Board of the Royal Schools of Music) 1995-2013 Auditions and admissions panel (University of Strathclyde)
2016 “Recontextualised Learning through Embedded Creativity: Developing a Module that applies Historically Informed Performance Practice to Baroque Music.” Peter Argondizza, Christina Guillaumier, and Ruth Slater. Chapter for Creative Teaching for Creative Learning in Higher Music Education, ed. Elizabeth Haddon and Pamela Burnard.
Farnham, Ashgate. In press.
Refereed Journal Article
2014 “Frequency-dependent ultrasound-induced transformation in E. coli.” Jeremy Deeks, James Windmill, Maduka Agbeze-Onuma, Robert M. Kalin, Peter Argondizza, and Charles W. Knapp. Biotechnology Letters 36, no. 12 (2014): 2461-2465.
Reviews and Dissertation
1989-95 Staff reviewer for "Classical Guitar" Magazine. Ten Reviews.
1989 Yale DMA thesis. "Vincenzo Galilei's `Fronimo.' A Guide Through a Ferrabosco Chanson"
2013 “Ornamented Intabulations and Derived Fantasias: Parody and Imitation in Galilei’s Arrangements of a Striggio Madrigal.” Renaissance Society of America, San Diego. Presented at Strathclyde University Languages & Literature Seminar Series.
2013 “Recontextualised Learning through Embedded Creativity: Developing a Module that applies Historically Informed Performance Practice to Baroque Music.” Creative Teaching for Creative Learning in Higher Academic Music Education Conference. The University of York, UK.
2012 “Living and Playing in the Material World”. New York Guitar Seminar. Mannes School of Music, New York City. 2009 “Talk to the hand ('cause the face ain't listening): Challenging Assumptions regarding Idiomatic Fingering, Shapes
and gestures in the Guitar Works of Villa-Lobos with an Emphasis on Guitar Etude No. 12”. Mannes College of
Music (NY) and the Big Guitar Weekend (RCS).
PERFORMANCE EXPERIENCE - ORCHESTRAS/PROFESSIONAL ENSEMBLES/SOLOIST
1984 – present: Guitar soloist with performances in Connecticut, Glasgow, Edinburgh, and London. Concerto soloist, chamber music musician, and part of the Argondizza Duo with Pauline Argondizza (cellist).
Classical or Acoustic Guitar
2013 Gioachino Rossini, Barber of Seville. Scottish Opera.
2008 Gustav Mahler, Symphony no.7. Royal Scottish National Orchestra. 1993 George Gershwin, An American in London. Scottish Opera.
1990-2004 Gustav Mahler, Symphony no.8. RSNO, BBC SSO.
1999 Gustav Mahler, Das Lied von der Erde. BBC Scottish Symphony Orchestra. 1998 Arnold Schoenberg, Serenade. Hebrides Ensemble (radio broadcast).
1994 Various, Mario Lanza/Jose Carreras Tribute Concert. BBC SSO. 1992 Four Characters in Search of an Author. BBC Television.
1991 Arnold Schoenberg, Agon. BBC Scottish Symphony Orchestra.
1990-2004 George Gershwin, Rhapsody in Blue. BBC SSO and RSNO. 1995 George Gershwin, Porgy and Bess. Willard White and BBC.
2002 Leonard Bernstein, Selections from “West Side Story”. RSNO. 1999 Alfred Schnittke, Faust Cantata. RSNO.
1998 Dmitri Shostakovich, Jazz Suite. RSNO.
1993 Various Composers, “Breaking the Ice” (Icelandic music). BBC SSO.
1993-1996 Charlie Chaplin Film Music. Carl Davis, conductor. Guitar/Banjo. RSNO, live.
1999 BBC Film Music Broadcast. Barry Wordsworth, Conductor. The Man with the Harmonica (Morricone) electric Guitar; Taming of the Shrew (Rota) Classical Guitar; Il Postino (Luis Bacalo) Mandolin; My
Uncle (Franck Barcellini/Alain Romans) Classical Guitar; Dr Zhivago Maurice Jarre (Mandolin).
2008 Commercial solo guitar CD, …from the hook to the hill. Available on iTunes.
2000 Jerry Goldsmith (conductor and composer), The Sand Pebbles, Viva Zapata, and Back to the Future (soundtrack). Classical guitar, mandolin, and twelve-string guitar. Royal Scottish National Orchestra. Commercial Recording.
1997 Argondizza Duo, Romance for Cello and Guitar. Public, unknown. UP08 album ‘Sensuality: Essence and Nonsense.’
1993 Once Voice Music CD, electric guitar.
Commissions and Premieres (Scottish Arts Council/commissioned & premiered by P. Argondizza) 2006 Tom David Wilson, Strange Returns. (with string quartet)
2005 Steven Davismoon, Beyond Your Valley. (solo guitar)
2004 Rory Boyle, Lullabies for Daft Jamie. (solo guitar)
1995 Ed McGuire, Romance. (guitar and cello)
1993 Sally Beamish, Madrigal. (solo guitar) REPETOIRE LIST
(* commission, and ** own arrangement/transcription)
Madrigal* Sallie Beamish
Sequenza XI for Guitar Luciano Berio
Sonata for Guitar Op. 47 Alberto Ginastera
Lullabies for Daft Jamie* Rory Boyle
Circles* Thomas David Wilson
Five Preludes Heitor Villa-Lobos
Twelve Etudes Heitor Villa-Lobos
Tres Apuntes Leo Brouwer
Drei Tentos Hans Werner Henze
Prelude and Danza Julián Orbón
Five Bagatelles William Walton
Four Etudes Benjamin Verdery
El Nervio de Arnold Graciela Paraskevaidis
Epicedia Cergio Prudencio
Prelude No. 5 Edward McGuire
Nocturnal Benjamin Britten
Tonadilla Mario Castelnuovo-Tedesco
Theme and Variations Lennox Berkeley
Three Pieces from “West Side Story” Jorge Morel/ Leonard Bernstein
Mysterious Habitats Dušan Bogdanović
Electric Counterpoint Steve Reich
Beyond Your Valley* Stephen Davismoon
Capricho Arabe Francisco Tárrega
Recuerdos de la Alhambra Francisco Tárrega
Fantasia on Themes from ‘La Traviata’ Francisco Tárrega
Leyenda Isaac Albéniz
Granada Isaac Albéniz
Sevilla Isaac Albéniz
Fandanquillo Joaquín Turina
Six Preludes Manuel Ponce
Theme Variations and Finale Manuel Ponce
Venezuelan Waltzes Antonio Lauro
Suite Castellana Federico Moreno Torroba
Sonata in D Major (Hob.4)** Franz Joseph Haydn
Rossiniana, Opus 119 Mauro Giuliani
Grand Overture, op. 61 Mauro Giuliani
Scottish National Airs Mauro Giuliani
Introduction, Theme and Variations Fernando Sor
Ciaccona** J.S. Bach
Violin Sonata BWV 1001** J.S. Bach
Lute Suite No. 1 in e Minor J.S. Bach
Lute Suite No. 2 in a Minor J.S. Bach
Lute Suite No. 3 in a Minor J.S. Bach
Fantasias/Ricercares** Vincenzo Galilei
Fantasia Alonso Mudarra
Lachrimae Pavan John Dowland
Fantasie John Dowland
Frog Galliard John Dowland
Tarleton’s Resurrection John Dowland
Queen Elizabeth Galliard John Dowland
From ‘Delphin de Musica’ Luis de Narvaez Cancion del Emperador Quatro Diﬀerencias
Baxa de Contrapunto Fantasia
Concierto de Aranjuez Joaquín Rodrigo
Fantasia Para un Gentilhombre Joaquín Rodrigo Psalmodies for Guitar and Small Orchestra
Psalmodies Poul Ruders
Guitar Concerto Malcolm Arnold
Guitar Concerto Op. 30 Mauro Giuliani
Guitar Concerto Op. 70 Mauro Giuliani
Concerto in D Major Antonio Vivaldi
Chamber Music - Argondizza Duo (Cello and Guitar)
Sonata in A minor Antonio Vivaldi
Sonata in E minor Antonio Vivaldi
Seven Spanish Songs Manuel de Falla
Minuet and Trio Op 13, No 5 Luigi Boccherini
Rondeau, Op 28 No.4 Luigi Boccherini
Sonata in A Major Luigi Boccherini
Three Moons David Leisner
Divertimento No.2 W.A. Mozart
Cordoba Isaac Albeniz
Spanish Dance No. 5 Enrique Granados Aria (Cantilena) from Bachianas Brasileiras No. 5
Heitor Villa-Lobos Divertimento No.2 W.A. Mozart
Romance for Cello and Guitar* Edward McGuire
Song Without Words, Op.109 Felix Mendelssohn
After a Dream Gabriel Faure
Sentimental Waltz, Op. 51 P. Tchaikovsky
The Swan Camille Saint-Saëns
Ave Maria Gounod/Bach
Landscapes* Mark Sheridan
Sonata in A minor Antonio Vivaldi
Sonata in E minor Antonio Vivaldi
Seven Spanish Songs Manuel de Falla
Carillon, Recitative and Masque Hans Werner Henze
Refrain Franco Donatoni
Three Poems of Robert Frost Elliott Carter
Terzetta Niccolò Paganini
Trio Niccolò Paganini
Sonata in G minor Antonio Vivaldi
Terzetto for viola, violin and guitar Niccolò Paganini
Arcade V for Guitar and Percussion Keith Humble
Arabia Felix for mixed ensemble Charles Wuorinen Four Folk Songs for Guitar, Soprano flute Igor Stravinsky Kammermusik 1958 H.W. Henze
Serenade, Op. 24 Arnold Schönberg
Last Waltz in Santiago Steve Davismoon (sop, e. gtr, vln, live electronics) National Anthem (for elec. and electronics) Jack Vees
Arcade IV for mixed perc. and guitar Keith Humble
Chamber Music - String Quartet and Guitar
Quintet op. 143 M. Castelnuovo-Tedesco
Quintet in D Major- G448 Luigi Boccherini
Quintet No. 3 in B flat G447 Luigi Boccherini
Guitar Concerto, opus 30. Mauro Giuliani
Guitar Concerto, opus 70. Mauro Giuliani
Vision of Orpheus David Leisner
Strange Returns* Thomas David Wilson
Voice and Guitar
Folksong Arrangements vol. 6 Benjamin Britten
Songs from the Chinese Benjamin Britten
Various Renaissance Songs John Dowland
Four French Folksongs Mátyás Seiber
Lieder Franz Peter Schubert
Drei Fragmente nach Hölderlin Hans Werner Henze
Siete canciones populares españolas Manuel de Falla
Flute and Guitar
Sonata in D minor, A.Vivaldi
Histoire du Tango Ástor Piazzolla
Variations on Rossini’s“Non piu mesta” Frédéric Chopin
Siete canciones populares españolas Manuel de Falla
Mountain Songs Robert Beaser
Trois Gymnopedies Erik Satie
Entr’acte Jacques Ibert
Toward the Sea (Alto Flute and Guitar) Toru Takemitsu
Serenata, Op.127 Mauro Giuliani
Violin and Guitar
Dances in the Madhouse David Leisner
Various duos Niccolò Paganini
Spiegel im Spiegel** Arvo Pärt
Sonata in D minor, OP.2, No.3 Antonio Vivaldi
Organ and Guitar
Suite for Guitar and Continuo Francesco Geminiani
Andante in E minor Gioseﬀo Hectore Fiocco
Canon in B minor Robert Schumann
Trio Sonata no 1 BWV 525** J.S. Bach RECORDINGS
Available upon request.
AWARDS AND HONORS
2015 Research Award Grant (Royal Conservatoire of Scotland)
Excellence in Teaching Award (University of Strathclyde – 2 consecutive years) 2011 Humanities Research Grant (University of Strathclyde)
2011 £20K “Bridging the Gap”—Interdisciplinary Research (University of Strathclyde) 1995-2007 Var. Scottish Arts Council Awards to commission/premiere new guitar music.
1987 Andres Segovia Scholarship (Banff School of Fine Arts, Canada) 1983 Scholarship to Aspen Music Festival
College Music Society, Renaissance Society of America, Guitar Foundation of America, and Group for Renaissance Research Reading.
UNIVERSITY AND CONSERVATOIRE COURSES TAUGHT/CREATED
UNIVERSITY OF STRATHCLYDE
- Studio Guitar and Classroom Guitar: Included supervising the Guitar Ensemble and structuring the course. Taught classical, Jazz, Popular, and Folk.
- Guitar fingerboard harmony.
- Jazz and Common Practice.
- Ph. D Supervision: Sources of the Guitar Concertos of Mauro Giuliani.
- MPhil Supervision: Psychology and Film Music.
- Orchestration Years 3 and 4: Included instrumentation and arranging.
- Creative Skills (all years): Practical musicianship, aural training, harmony, and counterpoint.
- Various world music classes
- Honor’s Dissertation Supervision: topics included: Post Modernism in Popular Music, The Cantatas of Bach, Numeracy in Messiaen, Schoenberg, Bartók Webern, Copland, Satie, Berio, Sex Pistols, Stravinsky, Mahler, and Berg.
- Music History (all periods): Popular Music, History of Jazz, Opera, Theatre, Verdi, Berg, Puccini, Mozart and R. Strauss, Bach and Baroque.
- MA in Advanced Renaissance Studies, Humanities: Music Module.
- Foreign Language Studies: Music of Spain and South America.
- Advanced Academic Studies: Academic Writing, Post Graduate Supervision, Course Design and Redesign.
ROYAL CONSERVATOIRE OF SCOTLAND (formerly Royal Scottish Academy of Music and Drama)
- Lute and Guitar Instruction.
- Ph. D Supervision: Bach Lute Suites for Guitar
- Conducted and organized RCS Ensembles.
- Style and Performance: Module Coordinator
- Writing about the Arts: Module leader and lecturer.
- Baroque music and Ensemble: Module leader and lecturer
- Guitar History, Repertoire and Pedagogy
- Foundation years 1 &2, Levels 1&2: notation, harmony, counterpoint, form and analysis.
- Twentieth Century Music Workshop: Maxwell-Davies, Anton Webern, and Judith Weir, Ligeti, Stravinsky.
- Orchestration year 3, 4 and postgraduate: Late romantic, Modern and Impressionistic styles.
- Orchestration and Arranging year 3 and 4, B. Ed: various styles.
- Compositional Studies, Year 3.
- Keyboard versatility.
- Music in History yrs. 1 & 2: module coordinator and lecturer.
- BA History - Music in History (year 3): Varese, Berio, Messiaen, Minimalism, Post Modernism, Film Music, Music Theatre, Bernstein. The music of Twentieth Century Spain, Beethoven String Quartets, Wozzeck.
- BA Honor’s Dissertations Supervisor and Module leader (History): Schoenberg, Gershwin, British Brass Bands, Samuel Barber, Bela Bartók, Prokofiev.
CONDUCTING – BOTH RCS AND THE UNIVERSITY OF STRATHCLYDE
- Baroque: Vivaldi: Gloria and Guitar Concerto in D.
- Classic and Romantic: Haydn: Symphonies no. 6, 7, 8. Mozart: Bassoon, Clarinet Concerto, and Symphony no. 40. Schubert: Symphony no. 8. Beethoven: Symphony no. 3. Mendelssohn: Hebrides Overture.
- Modern: Reich: Electric Counterpoint, Webern: Konzert Op.24., and Davies: Renaissance Scottish Dances.
I started going to Peter about a decade ago with a lute. This was my first string instrument and after a few years I moved on to guitar. We covered a wide variety of styles from Sor to Dylan and I had great time doing so. Since Peter returned to the States last year we collaborated on an Irish song via Dropbox which he transcribed from a YouTube video. My all round musicianship and confidence has improved greatly while studying with Peter. His musical knowledge is vast and he is well read in many other areas. A real Renaissance man. I would highly recommend him to anyone who is open to new musical experiences and is looking for expert musical tuition from a maestro.
I have been a student of Peter's for a total of seven years spread over twenty five years, first of the classical guitar and latterly of the baroque lute. I can recommend Peter unreservedly as an exceptional teacher with a rare breadth of experience of the guitar in all its genres combined with an equally rare equivalent breadth of musicianship and scholarship.
Peter has many talents as a teacher of which for me the most important is that he wants you to succeed. From that grows confidence and ambition. He then backs that up with an acute ability to identify and analyse technical problems and how to deal with them. Peter's teaching practice therefore moves on a broad front where the inevitable technical challenges involved in playing the guitar are combined with musical insight and encouragement into what is to be gained by overcoming them. This combination of technical analysis with musical sensibility I found inspiring and it propelled me to levels in guitar playing,which I would never have dared to attempt otherwise.
For any guitarist at any level the benefits of a good teacher are tremendous; it is all too easy, as I know myself, to reach a plateau where you can kind of play lots of things but nothing really well. Either that, or lacking guidance, fall into bad habits which practice simply reinforces and which are then very difficult to correct. Or, the classic, sometimes you can play a piece well but other times not and each time you start the piece you have no idea whether it will be one or the other or why it is that you have no real control of the performance.
Peter has the ability to sort these kinds of problems out and he sorts them out creatively and constructively in a way which always seeks to find the good in what you're doing by turning what were stumbling blocks into positive additions to your experience as a player. My experience of taking lessons with Peter was of a shrewd investment which fundamentally improved my playing. That was my experience and I think it highly likely that it will be yours as well.
Real talent as a teacher is something not given to everyone but it has been given to Peter. For any player therefore wishing to benefit from the many advantages that good teaching can bring to them I would have no hesitation in beating a path to his door.
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