I took classic guitar under Theodore in 1973 or 1974. I'd been studying under a couple of great local teachers since I was 6 years old, and decided to take a course at UCLA when I first went to college. However, when I first came to class with my steel-string 1953 Gibson country-western model, he shuddered and told me to bring a real guitar next time or drop out! I sure wish I still had that Gibson, which I grew up with, though! I had to borrow a friend's cheap nylon-stringer to take to class. TN's tablature books were great for those who (unlike me) couldn't read music, and for those of us who could as well. If I ever get a classic or flamenco guitar again, and he taught us the difference (there's a great luthier here in south St. Louis), I'll remember what Theodore said...get Savarez strings for the 3 low ones, and Augustin for the 3 high ones, for the best tone. It really works, even on a cheap instrument. Also, he told us how to, and how not to, trim and file our fingernails. I've followed his guitar manicure advice ever since.

Also will never forget seeing Narciso Yepes twice in the 1970s, first at UCLA with Laurindo Almeida and then a couple of years later in San Jose, with his tree-trunk 10-stringer. Amazing performer. RIP Ted. You were a great teacher!

                                                                                                                  Bob Carlson

In the fall of 1967 I heard that a classical guitar class was being offered at UCLA where I was enrolled as a graduate student in astronomy. Altough I didn't enroll immediately, part way through the quarter, I walked past the classroom where the course was being taught. The door was wide open, and as I paused and looked in, a gentlemen seated with a guitar in his lap turned toward me and gave me a friendly wave. This was Ted Norman. The next quarter I asked Ted if I could audit his course. He agreed and thus began a long musical connection with a remarkable musician, composer, and teacher. He soon suggested that I enroll in his class rather than audit, which I did untll I graduated in December, 1971. After that time I went back to auditing until my work schedule interfered sometime in 1975.

Ted introduced the students to a variety of guitar literature - both solo and ensemble pieces spanning the range from the renaissance to modern periods. Flamenco was also included. As time went on, I was sometimes invited to substitute teach his classes when he was out of town or ill.

Ted could be counted on to give expert advice on not only technique, musicianship, composing, and performance, but guitar and string selection, and teaching. He was much admired and respected by his many students, whom he would sometimes entertain with his humorous comments and stories.

                                                                                                                  Donald Gudehus