Guitar News

Canadian guitarist Simon Farintosh performs Joyful Departure by Ralph Towner (b.1940) on an 8-string guitar by Jeff Sigurdson. This comes via Simon’s YouTube channel with recording by Drew Henderson. Great performance by Farintosh with lots of great rhythmic moments and handling of the playful texture. I didn’t know this piece but I remember this vibe of the new age jazz of the late 90’s for which I was listening to lots of Metheny. Farintosh really pulls it off. This comes from Towner’s album Ana and his score is available here.

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Mystic Flute, Op.22 by Alan Hovhaness
Arranged for Guitar, Originally for Piano
Arranged by Aaron Larget-Caplan
Edition Peters

You can purchase the hardcopy sheet music from Edition Peters.

Big thanks to Faber Music and Edition Peters for sending me this new edition and arrangement of Mystic Flute, Op.22 by Alan Hovhaness (1911-2000), arranged for guitar by Aaron Larget-Caplan. Hovhaness was one of America’s most prolific composers with over 67 symphonies and 434 opus numbers. His music is influenced by a variety of sources and cultures but his Armenian ancestry and own unique sense of mysticism along with tight compositional skill highlight many of his works.

Great arrangement by Larget-Caplan with no notes removed from the piano score in the guitar version. Larget-Caplan has become well known for his new music commissions such as the New Lullaby Project and his other arrangements such as those by John Cage or his own compositions such as Honey Cadence that I recently featured. Check out more via his website or by my tag on this site.

Publishers’s Description

A sweet miniature composed for solo piano in 1937, Mystic Flute consists of two voices: a simple melody in the harmonic minor scale balanced by an ostinato accompaniment in 7/8 meter that gives the work a hypnotic and ceremonial spirit. The melodic line begins in the top voice, before moving to the bass voice, and returning to the top voice with small ornamentation. No notes were removed from the piano score, and all dynamic and phrase markings follow the original score as well. This arrangement was premiered on July 29, 2018 at the Coaster Theater in Cannon Beach, Oregon.

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Evangelina Mascardi performs London Suite IV in G major by Sylvius Leopold Weiss (1686–1750) on Baroque lute in Orte, Italy. This comes via Mascardi’s YouTube channel. I adore Weiss and Mascardi’s performance is wonderfully elegant. The combination of a strong rhythmic character and flowing galant lines along with tasteful ornaments is pure charm.

• 0:00 Prelude
• 1:16 Allemande
• 3:44 Courante
• 6:29 Bourée
• 8:01 Sarabande
• 10:37 Menuet
• 12:03 Gigue

The post Evangelina Mascardi Plays London Suite IV by Weiss first appeared on This is Classical Guitar.

CloudVocal’s Promotional Description & Video

Learn more or buy the FlashTrack at CloudVocal

FlashTrack is a microphone that has built-in digital signal processors (DSP) which allows users to adjust their sound, effects, and simulate other iconic microphones instantly without external software or plugins. Powered by USB-C, FlashTrack can connect to your mobile devices or laptops instantly and start recording. If you care about audio quality of your content, it is your go to solution to elevate to another level just in a flash.

My Review

Big thanks to CloudVocal for sending over a FlashTrack to test and demo. I was super interested in the FastTrack because it integrates a microphone, interface, and effects processor into one unit. I usually record with two mics, an audio interface, and Logic Pro as my software but that is a lot of expensive gear, knowledge, and variables. So where does the FastTrack shine? Well, with only have one cord going to your phone, tablet, or computer it’s pretty convenient. Plus, having on-board EQ and effects might make working on your phone or tablet a bit more simple if you want to skip post-production. I was most interested in it’s application for zoom lessons or streaming.

You have a ton of options if you’re just looking for a usb mic. I usually use my Audio Technica 2020usbi for zoom and live streaming and it’s great, I plug in one cord and it sounds super clean and has very low noise. Since all the money is going into just the mic I get the best possible mic and sound for my dollars. But it doesn’t have any EQ or effects, so that is the trade off. So in the end, the FlashTrack is a not replacement high quality gear but an interesting tool for certain situations. Priced at only $299 USD, that puts it into a price range where one can afford to add it to their existing setup.

I found the sound of the mic was pretty good without EQ or other settings. For the soft quiet sound of the classical guitar it’s not the lowest noise with it’s 46dB low-noise preamplifier circuit but if the instrument is close it is very decent for the price range. As for the many settings I’d say most classical guitarists will want to use only very subtle amounts of EQ and barely noticeable reverb as I demonstrate in the video. Here a link to my video review if you want to watch it on YouTube.

Summary

The CloudVocal FastTrack DSP Microphone is a very interesting tool for the modern musician. It’s your microphone, recording interface, and effects processor in one simple unit. Whether your recording, on the move, switching to various devices, or want on-board control of eq and effects, all your presets and setting are waiting for you on one device. The only decision you’ll have to make is that you can get a better microphone for the same amount of money but it won’t have all if any of these settings or adjustments. My recommendation is that this is an interesting piece of gear for the collection that is great for certain situations. I look forward to experimenting with it more.

Features

See tons of info and full list of Specs and Features at CloudVocal’s FlashTrack page.

FlashTrack uses a 1-inch cardioid condenser capsule capable of withstanding 130dB SPL and a built-in 46dB low-noise preamplifier circuit. It also has an X-shaped silicone shock mount to prevent absorbing mechanical vibrations. With its built-in digital signal processors, you can adjust the volume, EQ, and add effects like reverb and compression without additional software or knowledge. In addition to recording with the condensor mic, their impulse response (IR) technology brings modeling of a dynamic or ribbon mic to the mix. Also notable, is the convenient mute button on the front of the unit and looping features. It supports both 3.5mm analog and Bluetooth inputs in stereo and it connects easily to your phone, tablet ,or laptop through USB-C in 24 bit, and up to 192KHz. The pop filter is great for voice use and I like how the tripod works but that it also can sit on your desk without it.

Presets

• EQ – There are 3 presets in the EQ: warm, clear, or bright.There is also an adjustable MyEQ with a six-band EQ adjustment to save as a personal preference. 
• Compression – There are 4 types of compressor settings: Cast+ for podcast and voice-over, Punch+, Sing+, and Dyna+ for instruments. Again, there is a MyEQ where you can set threshold, ratio, gain, attack time, and release time.   
• Reverb – There are 4 different presets for reverb: Modern, Concert, Live, Classic, K-Ok . There is also a programmable MyReverb to create your own.

Learn more or buy the FlashTrack at CloudVocal

PhotosThe post FlashTrack DSP Microphone by CloudVocal first appeared on This is Classical Guitar.

The Beijing Guitar Duo with Meng Su and Yameng Wang perform a live concert at St. Marks Lutheran Church in San Francisco, CA with repertoire by César Franck, Enrique Granados, and Astor Piazzolla. This comes via the Omni Foundation online series and their Youtube channel. Amazing performance as usual from the Beijing Guitar Duo. I had the pleasure of hearing them live a few years ago and was completely blown away by their combination of beautiful musicality along with next-level precision and clarity in their overall aesthetic as a duo.

Programme

Prélude, Fugue et Variation, Op.18 by César Franck (1822-1890) (arr. Orphee)

• 1:25 – I. Prélude
• 4:53 – II. Fugue
• 7:40 – III.

Variation Valses Poéticos by Enrique Granados (1867-1916) (arr. Gruber-Maklar)

• 11:32 – Introddución
• 12:54 – Melodico
• 14:29 – II. Tempo de Vals noble
• 15:53 – III. Tempo de Vals lento
• 17:42 – IV. Allegro humoristico
• 18:27 – V. Allegretto (elegante)
• 19:55 – VI. Quasi ad Libitum (sentimental)
• 21:09 – VII. Vivo
• 21:50 – VIII. Presto

Melodico Tango Suite by Astor Piazzolla (1921-1992)

• 25:22 – I. Allegro
• 30:21 – II. Andante
• 34:49 – III. Allegro

The post Beijing Guitar Duo Omni Concert first appeared on This is Classical Guitar.

Etude No.10, Op.60 (Allegretto) by Matteo Carcassi (1796-1853) with performance, lesson, and sheet music. This from my sheet music edition of 25 Etudes, Op.60 by Matteo Carcassi. PDF or hardcopy sheet music for classical guitar. Comes with both a notation edition with left hand fingering and a separate tab edition in the same pdf. Intermediate to Early-Advanced (Grade 5-9). 142 Pages. Here is the YouTube link if you want to watch it there.

Etude No.10 is at a technique level of around Grade 6 depending on your desired tempo and level of musical refinement. This etude presents study opportunities to work on fixed intervals such as thirds and sixths along with ascending and descending slurs (hammer-ons and pull-offs) as well as chord shapes along with shifts. The fixed fingers mixed with the slurs make it an excellent study for the left hand and the uniform texture is a quintessential didactic study by Carcassi.

The twenty-five etudes in Op.60 by Matteo Carcassi (1796-1853) are one of the most important pedagogical collections for classical guitar. The etudes are both enjoyable for their musical content and pedagogically beneficial for their very clear technical objectives. Compared to other etude collections, both period and modern, Op.60 excels in its tightly focused compositional adherence to didactic goals. For this reason the etudes are excellent studies for students to test their skills in a controlled musical setting and a rite of passage from the intermediate to upper playing level.

Subscribe to the free membership newsletter and if you’re just watching for free you can consider supporting the site. This video was performed on a Douglass Scott classical guitar with Aquila Cristallo strings and an ErgoPlay Troster guitar support. All my gear here.

The post Etude No.10, Op.60 by Carcassi first appeared on This is Classical Guitar.

Etude No.9, Op.60 (Allegretto Grazioso) by Matteo Carcassi (1796-1853) with performance, lesson, and sheet music. This from my sheet music edition of 25 Etudes, Op.60 by Matteo Carcassi. PDF or hardcopy sheet music for classical guitar. Comes with both a notation edition with left hand fingering and a separate tab edition in the same pdf. Intermediate to Early-Advanced (Grade 5-9). 142 Pages. Here is the YouTube link if you want to watch it there.

Etude No.9 is at a technique level of around Grade 6 depending on your desired tempo and level of musical refinement. This etude presents study opportunities to work on melodic ascending and descending slurs (hammer-ons and pull-offs) and shifts as well as a mix of extroverted excitement but with a classical refinement.

The twenty-five etudes in Op.60 by Matteo Carcassi (1796-1853) are one of the most important pedagogical collections for classical guitar. The etudes are both enjoyable for their musical content and pedagogically beneficial for their very clear technical objectives. Compared to other etude collections, both period and modern, Op.60 excels in its tightly focused compositional adherence to didactic goals. For this reason the etudes are excellent studies for students to test their skills in a controlled musical setting and a rite of passage from the intermediate to upper playing level.

Subscribe to the free membership newsletter and if you’re just watching for free you can consider supporting the site. This video was performed on a Douglass Scott classical guitar with Aquila Cristallo strings and an ErgoPlay Troster guitar support. All my gear here.

The post Etude No.9, Op.60 by Carcassi first appeared on This is Classical Guitar.

Hao Yang performs Air varié de l’opera de Bellini I Capuleti e i Montecchi (1845) by Giulio Regondi (1822–1872). This comes via Guitars International via their YouTube channel with video and recording by Drew Henderson. One of the most amazing performances I’ve ever heard with beautiful pacing, phrasing, and incredible virtuosity both in terms of musical refinement and technique. You can learn more about Hao Yang at her about page.

Some info on the work via LACG and Editions Orphee:

This first edition of Giulio Regondi’s Air Varié de l’opera de Bellini I Capuleti e i Montecchi is based on a manuscript found in the collection of Karl Scheit,  now preserved in the library of the Universität für Musik und Darstellende Kunst — the Music University of Vienna.  This manuscript, was copied in 1854-1865 by Josiah Andrew Hudleston (1799-1865) and presented as a gift to Madam R. Sidney Pratten.  The piece was composed in 1845 for Regondi’s pupil,  a certain Miss Donovan of Dublin.  Regondi is known to have played this piece in his concerts during the 1850s and it was highly acclaimed by the critics.  The monumental style of the introduction — a kind of dramatic overture – appears to be strongly influenced by the opera fantasies of Sigismund Thalberg (1812-1871).  Thalberg and his rival Franz Liszt developed a new type of “Opernfantasie” that goes far beyond simple variations or potpourris for entertainment,  but delves deeply into the characters and the spiritual world of the works.  Airs by Bellini were often on the programs of Regondi’s concerts in the 1840s,  not only on the guitar but also on the concertina.  Themes from Bellini’s operas were most popular in the guitar repertory of the nineteenth century.  The air L’amo tanto, e m’è si cara used in this composition is from the opera I Capuleti e i Montecchi by Vincenzo Bellini.  It was also used by Padovetz (op. 13),  Pettoletti (op. 17),  and Neuland op. 21.  Without doubt,  Regondi’s version is the most refined of all.

J. A. Hudleston,  the man responsible for preserving this music,  was among the most interesting figures of the nineteenth century British guitar world.  He maintained a close amicable relationship with the leading guitarists in England at the time,  Giulio Regondi and Madame R. Sidney Pratten.  He was,  now we know,  the original dedicatee of the Regondi Etudes.  He was an avid collector of guitar music,  a remarkable feat considering that he spent most of his adult life in India.

via LACG and Editions OrpheeThe post Hao Yang Plays Air varié de l’opera de Bellini by Regondi first appeared on This is Classical Guitar.

Canadian guitarist Adam Cicchillitti performs Ombres et lumières by Canadian composer and guitarist Patrick Roux (b.1962). This comes via Cicchillitti’s YouTube channel and recorded by Drew Henderson. You can find the sheet music for the duo or solo version at Les Productions d’Oz. Great performance by Cicchillitti with engaging momentum and a beautiful sound throughout. Here’s his write up via his YouTube description.

Patrick Roux is among the most prolific composers of music for classical guitar in Canadian history, boasting over 100 publications of original works for the instrument. Roux is a celebrated pedagogue teaching at the Conservatoire de Gatineau and University of Ottawa. I met Roux at the Domaine Forget Academy where he has been teaching every summer since the early 1990s, and have worked closely with the composer for several years. In 2017, Steve Cowan and myself commissioned Roux for a new piece for guitar duo. The resulting composition entitled Ombres et lumières (Shadows and lights) was published with les Productions d’Oz and premiered in Gatineau in September 2018. Knowing that Cowan and myself were both active soloists, Roux also created a solo version of the work, which is featured in this video.

Ombres et lumières was inspired by a painting of the same name, created by one of Roux’s closest friends, artist Mario Courchesne. The two movements of the work are starkly contrasted: The first is slow and sombre, described by the composer as “evoking human sorrow, immersing the listener in shadow and obscurity”, while the second is quick and relentless, eliciting a “journey on a sinuous, frantic and adventurous path towards the light.” The work is a dialogue, as motives are passed back and forth between both performers. The constant build from the introspective first movement to the motoric rhythms of the second culminates in frequently changing meters, modulations and musical devices reminiscent of progressive rock.

via Cicchillitti’s YouTube channel The post Cicchillitti Plays Ombres et lumières by Roux first appeared on This is Classical Guitar.

Woodside Guitar Support GS3

More info, specs, and purchasing: Visit Woodside Guitars

Big thanks to Woodside Guitars for sending me the Woodside Guitar Support to review. This is the third time I’ve reviewed the support but they continue to improve the design and now have a variety of accessories to suit player preferences and demands.

The Woodside Support has an excellent design and quality craftsmanship. It feels secure, stable, and comfortable. It uses a reliable clamp system making it a secure option for important sessions or live performance. The pivoting clamp system even fits on raised fingerboard guitars. Many people will enjoy the support right out of the box but two very significant accessories are the Lift Kit for a higher guitar position and the Angle Block adjustment for a steeper angle and closer proximity. These two improvements are huge because the modern player does not want to compromise their perfect position.

Here’s the YouTube link for this review if you want to watch it there. In the video I play this Double by David Kellner (c.1670-1748).

The Pros of the Woodside Support

The GS3 has a few improvements over the GS2. The leg rest is wider, with a gentler curve, providing greater contact with the player’s leg. There is a slight 2° increase in the mount angle between the cradle and support pillar.

• Quality craftsmanship
• Feels secure and solid
• Trustworthy in performance compared to suction cups
• Adjustable for custom angles and positioning of the guitar
• Good maneuverability
• Quick to put on or take off
• Pivoting clamp system compensates for various guitars and raised fingerboards
• Easy hand adjustments for tightening and angles
• Long collar for higher height now comes with the support
• Works on matte finished guitars

Accessories

• Lift Kit – For those who need additional height. I love the lift kit even though I don’t technically need it when using the long collar. I feel more safe using it and while I’m adjusting the height it stops me from accidentally disassembling the device.
• Angle Block – The Angle Block is excellent. I don’t need it and might not use it but it really opens up possibilities for people. I talk about this in the video. It’s not just the steeper angle that I was impressed with but also that it moves the guitar body closer to one’s centre (or the lower bout closer to the left leg). This is amazing because some people might find that it will help equalize the relaxation and drop of the shoulders and help with other issues. 

Concerns and Discussions

All of my past concerns have been addressed in the improvements and optional accessories so I’m very happy with the support. I also really like a static and secure position after all adjustments so this support works well for me. See the video for discussions on movement and playability.

Will the clamp come off? They shouldn’t if you’re playing in a healthy, normal, and responsible way. If it came off I think that would be due to irresponsible expectations and unhealthy playing habits. If it was not tightened enough or tightened too much and the player exerted tons of force on the neck I guess it’s possible it could come off but…don’t do that. Don’t do that with any guitar support or even a footstool. I test this in the video.

The Clamp – Some people have concerns about attaching a clamp to their guitar. Remember that clamps are used in the making of guitars and the side of the instrument is pretty safe for this. Of course, you want to only tighten it enough to securely hold it in place. I’m completely comfortable with the clamp system on my expensive guitar. I played with the old Murata clamp for years and I’d say this system is even more safe due to the pivoting clamp that will more equally distribute the pressure.

In regards to your polish – If you have a bullet proof finish on a factory guitar I think you’re totally fine. For French polish, anything that comes in repeated contact with your guitar will have some wear and tear over the years. Even my leg, chest, and arm contact points eventually make their scuff marks in my French polish, not to mention nail marks on the top. I use a clear non-adhesive protective vinyl material to protect my guitar at the clamp contact point but I don’t think it’s even necessary. I use a non-guitar cling called Grafix ClingVinyl but there are guitar-specific products that are similar such as the brand Kling-on. I’ve used it on French polish and polyurethane finishes but I’ve been told not to use on lacquer finishes. There can be discolouration after removing the vinyl since it has protected the guitar from light and scuff marks. Regardless, use vinyl at your own risk, ask your luthier or guitar maker first. Like I said, I think the support is totally safe to use.

Conclusion

The Woodside Guitar Support is an adjustable, secure, and comfortable guitar support. I trust it in performance and love how the support and accessories enable the perfect guitar position.

For more info, models, specifications, and purchasing please visit Woodside Guitars.

The post Woodside Guitar Support Review first appeared on This is Classical Guitar.

Etude No.8, Op.60 (Moderato) by Matteo Carcassi (1796-1853) with performance, lesson, and sheet music. This from my edition of 25 Etudes, Op.60 by Matteo Carcassi. PDF or hardcopy sheet music for classical guitar. Comes with both a notation edition with left hand fingering and a separate tab edition in the same pdf. Intermediate to Early-Advanced (Grade 5-9). 142 Pages. Here is the YouTube link if you want to watch it there.

Etude No.8 is at a technique level of around Grade 6 depending on your desired tempo and level of musical refinement. This etude presents study opportunities for arpeggios, slurs, and chord shape management. A deceivingly simple etude at first but putting all those techniques together can be difficult to play with refinement and clean polishing at the final stages.

The twenty-five etudes in Op.60 by Matteo Carcassi (1796-1853) are one of the most important pedagogical collections for classical guitar. The etudes are both enjoyable for their musical content and pedagogically beneficial for their very clear technical objectives. Compared to other etude collections, both period and modern, Op.60 excels in its tightly focused compositional adherence to didactic goals. For this reason the etudes are excellent studies for students to test their skills in a controlled musical setting and a rite of passage from the intermediate to upper playing level.

Subscribe to the free membership newsletter and if you’re just watching for free you can consider supporting the site. This video was performed on a Douglass Scott classical guitar with Savarez New Cristal Creation strings and an ErgoPlay Troster guitar support. All my gear here.

The post Etude No.8, Op.60 by Carcassi first appeared on This is Classical Guitar.

McGregor-Verdejo Duo with Mark McGregor (alto flute) and Adrian Verdejo (classical guitar) perform Missing You by Rodney Sharman. This comes via Redshift Music Society and their Youtube channel. This is also from a new online concert series, Duets, featuring video recordings of live performances of Canadian works via the Canadian Music Centre BC, in partnership with Redshift Music Society. Score available from Canadian Music Centre. Beautiful performance and composition with such a delicate texture in the guitar part. Below are the composer’s notes via the YouTube description:

Missing You was written for the McGregor-Verdejo Duo in Summer 2020, a time of social isolation due an ongoing pandemic. At the duo’s request, I wrote a piece informed by the work of composer Jo Kondo, with whom I studied Japanese music at the University of Victoria. Kondo’s music has an elusive “between categories” texture I admire greatly: is it almost the same music at almost the same time (heterophony)? Is the same music layered with itself staggered in time (a round, or canon)? Is the music’s line or melody divided between performers such that fragments create a whole (hocket)? Does tone colour create the illusion of melody (Klangfarbenmelodie)? Adrian Verdejo and Mark McGregor are dedicated interpreters of my work. It was a pleasure to write for them as a duo; Missing You dedicated to them, commissioned through the generosity of the Canada Council for the Arts.

via Redshift Music Society on YoutubeThe post McGregor-Verdejo Duo Play Missing You by Sharman first appeared on This is Classical Guitar.

ViennaDuo with Desislava Dobreva (flute) and Bozhana Pavlova (guitar) play their arrangement of Romanian Folk Dances by Béla Bartók (1881-1945). This comes via ViennaDuo on YouTube. Originally for piano and later orchestrated by the composer. Great performance and arrangement by ViennaDuo with beautiful melodic phrasing and articulation throughout. Works nicely on guitar and flute with all the interesting textures being fully realized.

The post ViennaDuo Play Romanian Folk Dances by Bartok first appeared on This is Classical Guitar.

Rercercata Bella, an anonymous Renaissance lute work from the Siena Lute Book. Performance, sheet music, lesson, and discussion for classical guitar or lute. This is a collaboration with Elizabeth Pallett via Luteweb on YouTube (go subscribe) and Luteweb.com. I had a wonderful time working with Elizabeth on this project and learned so much from her, I hope you do too. Our discussion shows how there can be endless discussions and discovery in these works and collaboration with lute player must happen more often!

Support this Collaboration

Please thank Elizabeth for her time by supporting her on Ko-Fi (I did): Support Luteweb on Ko-Fi.

My free pdf sheet music edition

Notation, french tablature, Italian tablature. Free until the end of March.

• Rercerata Bella Sheet Music and Lute Tablature (PDF) ↓

Links

• Elizabeth Pallatt’s Lute Lesson and Performance
• Our Zoom Discussion on This Work
• Elizabeth Pallatt’s Lute Tablature Edition
• Subscribe to Luteweb on YouTube
• Bradford’s Performance and Lesson

Recercata Bella (Anonymous Renaissance Lute Work) See the video for additional info as well as the collaboration videos with lutenist Elizabeth Pallett via her excellent site at luteweb.com and YouTube channel.

Fingered for relative lute tuning on guitar with the 3rd string tuned down to F sharp and optional capo on 3rd fret. My edition comes with a notation edition, French tablature, and Italian tablature edition.

There are two manuscripts for this work. I’ve based this edition on the manuscript from the Siena Lute Book (The Hague, Gemeentemuseum, MS 28.B.39) which is an anthology of over 150 items compiled in Siena, Italy. The other manuscript can be found in the Bibliothéque Nationale, Paris: F-Pn Rés.429, ff. 107v-108v (Italian Tablature Copy c.1560-1565).

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French classical guitarist Gabriel Bianco performs the first movement Allegro Moderato from Sonata Romántica by Manuel Ponce (1882-1948). Performed from his hometown of Lille, France and performed on a Altamira N500 classical guitar. This comes via Altamira Guitars and their YouTube channel.

Ponce wrote a number of sonatas and suites in imitation of era specific styles. This one was written with the dedication “Hommage a F. Schubert qui aimait la guitare” (Tribute to F. Schubert who loved the guitar). Wonderful performance by Bianco with excellent phrasing, articulations, and expressive musical delivery. There’s so much one can do with this opening movement and I really like Bianco’s pacing and Romantic touches but not without some classical refinement to the motifs and style.

The post Gabriel Bianco Plays Sonata Romántica by Ponce first appeared on This is Classical Guitar.

Etude No.7, Op.60 (Allegro) by Matteo Carcassi (1796-1853) with performance, lesson, and sheet music. This from my edition of 25 Etudes, Op.60 by Matteo Carcassi. PDF or hardcopy sheet music for classical guitar. Comes with both a notation edition with left hand fingering and a separate tab edition in the same pdf. Intermediate to Early-Advanced (Grade 5-9). 142 Pages. Here is the YouTube link if you want to watch it there.

Etude No.7 is at a technique level of around Grade 5-6 depending on your desired tempo and level of musical refinement. It’s a great study for repeated notes and arpeggios as well as offering an opportunity to increase your tempo to an exciting tempo. This is not a tremolo piece in the guitar sense despite the repeated notes and it is likely Carcassi just repeated i-m but almost all modern guitarist use i-m-a making it an opportunity to develop that technique.

The twenty-five etudes in Op.60 by Matteo Carcassi (1796-1853) are one of the most important pedagogical collections for classical guitar. The etudes are both enjoyable for their musical content and pedagogically beneficial for their very clear technical objectives. Compared to other etude collections, both period and modern, Op.60 excels in its tightly focused compositional adherence to didactic goals. For this reason the etudes are excellent studies for students to test their skills in a controlled musical setting and a rite of passage from the intermediate to upper playing level.

Subscribe to the free membership newsletter and if you’re just watching for free you can consider supporting the site. This video was performed on a Douglass Scott classical guitar with Aquila Cristallo strings and an ErgoPlay Troster guitar support. All my gear here.

The post Etude No.7, Op.60 by Carcassi first appeared on This is Classical Guitar.

Left Hand Tension and Vice Grip Problems: Relaxation and awareness exercises on classical guitar. Make sure you have a good posture, position, and left hand technique before working on these exercises (check out the links below). It’s also very important to play close to the frets in order to not buzz.

Video Times:

• 0:00 Intro and Discussion 1
• 1:28 Vice Grip and Thumb Relaxation
• 4:00 Muted and Buzz Exercises
• 8:01 Review and Right-Left Disassociation
• 9:54 Conclusion

Relavant Links

• My Posture and Guitar Position Lesson
• My Left Hand Position Lesson
• My Technique Book

Subscribe to the free membership newsletter and if you’re just watching for free you can consider supporting the site. This video was performed on a Douglass Scott classical guitar with Aquila Cristallo strings and an ErgoPlay Troster guitar support. All my gear here.

Previous Video and Lesson

Lesson: Left Hand Tension and Relaxation Exercises – This is a lesson on how to relax the left hand and learn to do the movements without tension. Although some tension is used in playing we must differentiate between functional tension and dysfunctional tension (some terms from Charles Duncan’s The Art of Classical Guitar Playing). YouTube Lesson Link.  In the video I cover 4 main topics:

1. The importance of have a good technique and positions overall
2. Muted exercises that can help your technique
3. The vice-grip problem and thumb tension
4. Integrating these exercises into your practice routine

Although I didn’t discuss it above, this is also related to speed work on guitar. My formula is: Speed = Economy of Motion + Accuracy + Relaxation – Economy of motion is the act of eliminating unneeded movements. Keeping your fingers close to the strings and preparing your fingers directly over the frets increases efficiency. Accuracy is self-explanatory but should not be overlooked. Placing your fingers close to the frets allows you to play with less pressure and tension. Relaxation enables you to access reflexes connected to your body’s natural ergonomic movements. Focus on slow, accurate playing and relaxation. Allow speed to come naturally as a result of good practice.

Here’s the video on Speed and Relaxation from my book Classical Guitar Technique: Essential Exercises, Scales, and Arpeggios. The 122 page book includes: Practice Routines, Tips, 100 Open String Exercises, 120 Giuliani Arpeggios, Scales, Slur Exercises, Shifts, Finger Independence, Barre, Tremolo, Common Harmonics, and much more.

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Marco De Biasi performs his own composition Vento d’Inverno inside the historic 13th-century Oratorio dei Battuti Church in Vittorio Veneto, Italy. This comes via the Omni Foundation online series and their Youtube channel. I’ve posted videos of Marco De Biasi’s excellent playing and compositions a few times and I highly recommend checking out his works. See more at his website or personal YouTube channel.

The post Marco De Biasi Performs Vento d’Inverno  first appeared on This is Classical Guitar.

Canadian classical guitarist Nicole Payie performs Mirándote by Eduardo Martín (b.1953) and La Paloma (The Dove) by Sebastián Iradier (1809-1865). This comes via Payie’s new YouTube channel (go subscribe now). Nicole is a good friend and colleague of mine and has helped out on the site and sheet music a few times. She teaches at the Victoria Conservatory of Music, her home studio, and she’s also on my list of recommended online teachers. Lovely performances with nicely highlighted melodic work.

The post Nicole Payie Plays Yradier and Martín first appeared on This is Classical Guitar.

Etude No.6, Op.60 (Moderato) by Matteo Carcassi (1796-1853) with performance, lesson, and sheet music. This from my edition of 25 Etudes, Op.60 by Matteo Carcassi. PDF or hardcopy sheet music for classical guitar. Comes with both a notation edition with left hand fingering and a separate tab edition in the same pdf. Intermediate to Early-Advanced (Grade 5-9). 142 Pages. Here is the YouTube link if you want to watch it there.

Etude No.6 is at a technique level of around Grade 5-6 depending on your desired tempo and level of musical refinement. It’s a great study for two-voice independence, right hand thumb work, musical balance and control over a simple texture.

The twenty-five etudes in Op.60 by Matteo Carcassi (1796-1853) are one of the most important pedagogical collections for classical guitar. The etudes are both enjoyable for their musical content and pedagogically beneficial for their very clear technical objectives. Compared to other etude collections, both period and modern, Op.60 excels in its tightly focused compositional adherence to didactic goals. For this reason the etudes are excellent studies for students to test their skills in a controlled musical setting and a rite of passage from the intermediate to upper playing level.

Subscribe to the free membership newsletter and if you’re just watching for free you can consider supporting the site. This video was performed on a Douglass Scott classical guitar with Aquila Cristallo strings and an ErgoPlay Troster guitar support. All my gear here.

The post Etude No.6, Op.60 by Carcassi first appeared on This is Classical Guitar.