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Sofia Saggese (mezzo soprano) and Davide Depedro (theorbo) perform Che si può fare (Arie op. 8, Venezia, 1664) by Barbara Strozzi (1619-1677). This comes via Edoardo Lambertenghi’s YouTube channel (go subscribe). Beautiful vocal performance, aria, and accompaniment by Depedro, pure charm.

Barbara Strozzi (1619–1677) was an Venitian composer and singer of the Baroque era, widely regarded as one of the most prolific composers of secular vocal music in 17th-century Venice. Strozzi composed a remarkable number of works, publishing eight collections of music—primarily cantatas, arias, and madrigals. She likely had more secular music in print than any other composer of the era.

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A lesson on right hand fingering using case studies No.58-65 which focuses on voice separation and thumb use. This is from my book: Right Hand Fingering for Classical Guitar: Concepts and Case Studies. This book aims to give students a basic criteria for justifying fingering choices and gaining confidence in deciding fingering for themselves. The combination of concepts and case studies offers a framework for approaching fingering in both logical and musical ways. Here’s the Youtube link if you want to watch it there.

This video covers Examples No.58-65 from the book (Page 46-53).

Video Times

• 00:00 Intro
• 1:18 – Case No.58b
• 6:03 – Case No.59b
• 9:24 – Case No.60a
• 11:47 – Case No.61a
• 15:09 – Case No.62a
• 19:04 – Case No.63a
• 24:20 – Case No.64b
• 30:38 – Case No.65a

The post Right Hand Fingering Concepts: Case Studies No.58-65 (Voice Separation) first appeared on This is Classical Guitar.

Norwegian classical guitarist Kristina Vårlid performs Variations on a Theme of Scriabin by Polish composer Alexandre Tansman (1897–1986), written in 1972 for Segovia, after the Prelude, Op. 16, No. 4 by Alexander Scriabin (1872-1915). This comes via Varlid’s Youtube channel (go subscribe).

Beautiful performance by Vårlid with excellent pacing and a range of delicate to pianistic playing. I award a special prize for the flicking of the 6th string with the right hand pinky finger at 1:17. Some more info via Graham Wade on this Naxos recording:

The Polish composer, Alexandre Tansman, having been introduced to Andrés Segovia during his stay in Paris in 1921, was persuaded to write for the guitar…Variations on a Theme of Scriabin, dedicated to Segovia, was written in 1972. The theme, Prelude, Op. 16, No. 4, in E flat minor (for piano), was arranged by Segovia in B minor for guitar (publ. Celesta Publishing Co., New York, 1945). This melody has a haunting quality with poignant accompanying chord progressions, though Tansman has at certain points reworked the original harmonization of the theme. The composition has six variations, the first being a transference of the theme to the bass line, with an accompaniment in the treble. Var. II, slightly faster, explores the harmonic potential of Scriabin’s melody, while Var. III is a virtuosic Vivo episode in semiquavers. Var. IV changes the tonality and explores some ingenious harmonic modulations. The fifth variation, Allegretto grazioso (quasi Mazurka), is the composer’s homage to Poland, presenting the national dance with a dash of humour and elements which evoke the music of J.S. Bach. The last variation is fugal, a contrapuntal working out of the melodic implications, which gives way to a final, slightly modified, gentle statement of the theme itself.

The post Kristina Vårlid Performs Variations on a Theme of Scriabin by Tansman first appeared on This is Classical Guitar.

The Shearer Method: Classroom Guitar Year 1 & 2
by Aaron Shearer, Thomas Kikta, and Dr. Alan Hirsh
Released 2025

Buy the Books via Aaron Shearer Foundation

The famous revised Shearer Method is now available as a Classroom Guitar series including a year one and two sequence and optional instructor’s manual appropriate for both guitarists and non-guitarist teachers. This is the most detailed and dedicated classical guitar classroom method available. Plus the online resources (video, audio, apps) for students and teachers offer clarification and continuity across the learning experience.

The inclusion of solo, duo, and trio repertoire is perfect for either small group classes or large classrooms where confidence in numbers keep students aligned. The repertoire in year one is original material which makes sense for creating a perfect match between educational content and repertoire experience. Year two includes a few arrangements of folk songs and ensemble arrangements of classical repertoire. Chord strumming exercises ensure classical guitarist learn some basics from the greater guitar world.

The biggest strength of the books might be the detailed information within the book itself and the teachers manual. This provides both teacher and student with enough content to have classroom activities and content to cover but also at-home practice reminders for students. Online videos, audio, and apps also aid students and teachers outside the classroom making the method very versatile and practical in large classes.

The content of the books include

• Developmental solos
• Student/teacher Duets. (Teacher accompaniments include chord symbols for non-guitarists)
• Developmental Guitar Ensemble in a diversity of musical styles and tailored to the sequence. Optional Contrabass parts available in Year 2
• Integrated study of Guitar Harmony
• Strumming duets to apply the learning of new chords and rhythms
• Guitar Percussion
• Online instructional videos
• Online audio support of all duets and trios
• Online Note Recognition App for supporting note reading
• Online Sight-reader App for supporting note reading
• Instructor’s Manual and online Instructor’s supplement available

Videos from the Shearer Foundation

All videos found via Aaron Shearer Foundation, check it out to learn more.

Example 1st Year Technique

Moderato, Ensemble No. 2, from Classroom Guitar

Shearer Foundation Virtual Forum Jan. 13, 2026

The post The Shearer Method: Classroom Guitar Year 1 & 2 first appeared on This is Classical Guitar.

A lesson on right hand fingering using case studies No.54-57 which focuses on playing across the strings. This is from my book: Right Hand Fingering for Classical Guitar: Concepts and Case Studies. This book aims to give students a basic criteria for justifying fingering choices and gaining confidence in deciding fingering for themselves. The combination of concepts and case studies offers a framework for approaching fingering in both logical and musical ways. Here’s the Youtube link if you want to watch it there.

This video covers Examples No.54-57 from the book (Page 42-45).

Video Times

• 00:00 Intro
• 1:04 – Case No.54a
• 6:30 – Case No.55a
• 9:00 – Case No.56a
• 12:14 Case No.57a

The post Right Hand Fingering Concepts: Case Studies No.54-57 (Across the Strings) first appeared on This is Classical Guitar.

Classical guitarist Orlando Pellicori performs Capriccio Diabolico, Op.85b by Mario Castelnuovo-Tedesco (1895–1968) with string quartet and filmed on location in Corigliano-Rossano (Cosenza), Italy. This comes via the Omni Foundation and their Youtube channel (go subscribe). Originally a solo work, this is his arrangement for guitar and string quartet based on the composer’s version for guitar and orchestra.

Great to hear this work with string quartet which adds a lot of additional interest and colourful sustain. It also makes for very lush and relaxing listening in the intimate slower sections. I love hearing lots of the original switched to the quartet in the recap.

Performers

• Orlando Pellicori, guitar
• Sefora Feroleto. violin
• Vincenzo Lovallo, violin
• Giampaolo Lavorata, viola
• Aida Matera, cello

Listen to other 20th Century to Contemporary Works

Did you know there is a Modern Repertoire category on the site? Here you can watch videos of pros playing other modern works and discover a huge variety of different styles from spacious ethereal works to lively jazz infused romps. Go here: Modern Repertoire Category for Classical Guitar

The post Orlando Pellicori Performs Capriccio Diabolico, Op.85b by Tedesco first appeared on This is Classical Guitar.

Question: How do I get a beautiful right hand tone on classical guitar? I notice a “twangy “ sound when my finger strikes the guitar string a certain way, but a mellower sound when striking from a different position, but I don’t have consistency.

Answer Summary: The main tips for getting a nice tone on classical guitar are to consistently contact the string in the same spot from the same angle. You also need to pluck the string at an angle (not perpendicular), and direct the energy in toward the guitar rather than yank the string side to side. If you use nails you will need to have a specific nail shape and a multisided nail file to create a smooth ramp the string can glide along and release from. Let’s explore all these elements more closely below.

Tone Production Lesson

Let’s first take a look at my lesson Right Hand Tone Production, I’ve included my video below where I discuss right hand tasto and ponticello tone but also how to angle the finger on the string to create bright or warm sound. The more parallel I play the smoother and warmer it is, the more perpendicular I play the brighter it is. I also discuss how to play across the strings to compensate for string diameter. This also relies on having a good sitting position with guitar to some extent.

Nail Shape and Filing

You also have to consider your nail shape and filing technique which you can learn about in my Fingernail Lesson for Classical Guitar. I’ve included the video and a diagram below but you should see the full article for all the information. Key to refinement here is also the filing process and the multisided nail file.

The diagram from the video:

Consistent Contact Point

One thing discussed in both of the above lessons is string contact. The contact point of flesh and nail at the bottom of the ramp or curve of the nail must be consistent so the stroke and sound is consistent each time.

You can practice your contact point precision by practicing via Right Hand Planting & Preparation. This will help secure your playing but also help you be more consistent with the exact and predictable contact point so you start each stroke in the same way.

Questions & Support

If you need clarification on this particular Q&A please leave a comment below. For new and existing questions please visit the main Classical Guitar Q&A page. If you are enjoying the free Q&As you can support the site here.

The post How do I get a beautiful right hand tone on classical guitar? first appeared on This is Classical Guitar.

Vienna-based Iranian oud player and vocalist Avin Ahmadi performs the Iranian piece Gar Tīgh Bārad by Siamak Aghaei on the Oud. This comes via Siccas Guitars and their YouTube (go subscribe). Beautiful performance by Ahmadi. Born in 2004, trained at Tehran’s music conservatory, she is now pursuing jazz improvisation at Anton Bruckner University in Linz, Austria.

Check out some Renaissance Music from our Sheet Music Category

The Oud and lute are directly related with the Middle Eastern oud acting as the direct ancestor of the European lute. Both are pear-shaped, plucked string instruments, but the oud is fretless with a shorter neck, while the lute, developed later, features frets and was heavily influenced by the oud brought to Europe by the Moors.

The post Avin Ahmadi Performs Gar Tīgh Bārad by Aghaei on Oud first appeared on This is Classical Guitar.

A lesson on right hand fingering using case studies No.46-53 which focus on finger alternation choices. This is from my book: Right Hand Fingering for Classical Guitar: Concepts and Case Studies. This book aims to give students a basic criteria for justifying fingering choices and gaining confidence in deciding fingering for themselves. The combination of concepts and case studies offers a framework for approaching fingering in both logical and musical ways. Here’s the Youtube link if you want to watch it there.

This video covers Examples No.46-53 from the book (Page 36-41).

Video Times

• 00:00 Intro
• 0:47 Case Study No.46b
• 4:24 Case No.47
• 6:42 Case No.50a
• 10:45 Case No.51a
• 4:35 Case No.52a
• 19:14 Case No.53a

The post Right Hand Fingering Concepts: Case Studies No.46-53 (Alternation) first appeared on This is Classical Guitar.

Sergei Gudelev performs Crystal Silence by Chick Corea (1941-2021), arr. by A. Марков. This comes via his Youtube channel (go subscribe). I don’t usually post arrangements of jazz works but this was a beautiful performance with a wonderful spacious quality and really nice guitaristic touches that sound at home in the style. Attention to sustain and phrasing is also a joy to listen to.

The post Sergei Gudelev Performs Crystal Silence by Chick Corea first appeared on This is Classical Guitar.

Hungarian classical guitarist Zsombor Sidoo performs Atemzüge für Thomas (Breaths for Thomas) by Wolfram Schurig (b.1967). This comes via Sidoo’s YouTube channel (go subscribe). Beautiful performance with excellent pacing, just enough to be spacious but also complete the sustained lines.

The last two times I’ve featured Sidoo he was playing Bach so it’s great to hear him in this contrasting style. Here’s a little bio of Schurig via ircam where the composer is quoted:

It was and still is less a question for me to elaborate a personal style or to consolidate a constraining musical language, whose vocabulary — once established — must be worked on with self-referential assiduity. Rather, it seems important to me to find a path in which musical perception and — on this basis — artistic experience always become different and, in the best case, always new.

The post Zsombor Sidoo Performs Atemzüge für Thomas by Wolfram Schurig first appeared on This is Classical Guitar.

Question: How do I play rest stroke thumb with free stroke fingers at the same time on classical guitar?

Variant: How do I play free stroke thumb with rest stroke fingers?

Answer Summary: The ability to play each technique separately and to have a rest stroke technique that is relaxed, smooth-moving across the strings, and predictable is key to success. Proper finger movement and planting (preparation) technique also contribute to a simultaneous release. But there are other variables depending on the level of the student, their skills with each individual technique, relaxation, confidence, nail shape, and more. Let’s explore what’s needed in more detail.

Here is the YouTube link in case you want to watch it there.

Rest and Free Stroke Ability

Here are some combinations that need to be practiced before attempting to play a rest stroke with simultaneous free stroke.

• Free stroke thumb
• Rest stroke thumb
• Free stroke fingers
• Rest stroke fingers
• Alternating one note rest stroke and one note free stroke continuously
• Free stroke thumb and fingers together

There are two key elements important to the above:

1. The ability to play flowing rest strokes that glide through the string easily and predictably. This is usually taught by developing a very light, relaxed, and flowing rest stroke. Later, the stroke can be more intense but without losing the easy glide across the strings.
2. The ability to keep your right hand in the same position for both rest stroke and free stroke.

Try This: Alternating one-note-rest-stroke followed by two-notes-free-stroke continuously with i-m without a hand position change. This is essential and will allow you to combine the two techniques using only one hand position. Having different hand positions for each technique will making it very difficult to play them together.

Additional Tips for Simultaneous Release

Movement and Nails – Predictably of the stroke will result in simultaneous release from the finger or thumb. If you are not using nails, focus on the movement of the fingers through the string. If you use nails, make sure your nails are of somewhat even length and that the release is smooth and easy. See my nail lesson here.

Contact Point – Having a consistent contact point and release point on the fingertip or nail is very important. See my nail article even if you play without nails as the diagrams explain it.

Planting – When beginning to combine the two techniques try using long-contact planting in the right hand. Planting is a preparation on the string where contact is made and held before the stroke is executed. Be sure the plant places the string at the exact same spot on the fingertip (or fingertip with nail) so the stroke will be the same each time. A long-contact plant with a confident stroke will result in more predictability.

Move the fingers into the palm with confidence – Hesitation or trying to micromanage the technique will likely result in random release times.

You’ve made it really far! Remember that if you are even playing this at all you’ve come a long way. Congratulations. But now you are in the refinement stage which is a great place to be. It may take some time to work this out but just dedicate a few minutes a day to it and enjoy your practice session.

Questions & Support

If you need clarification on this particular Q&A please leave a comment below. For new and existing questions please visit the main Classical Guitar Q&A page. If you are enjoying the free Q&As you can support the site here.

The post How to Play Rest and Free Strokes at the Same Time on Classical Guitar first appeared on This is Classical Guitar.

A lesson on right hand fingering for common textures using case studies No.41-45. This is from my book: Right Hand Fingering for Classical Guitar: Concepts and Case Studies. This book aims to give students a basic criteria for justifying fingering choices and gaining confidence in deciding fingering for themselves. The combination of concepts and case studies offers a framework for approaching fingering in both logical and musical ways. Here’s the Youtube link if you want to watch it there.

This video covers Examples No.41-45 from the book (Page 29-35).

Video Times

• 00:00 Intro
• 1:20 Case Study No.41b
• 3:10 Case No.42a
• 6:20 Case No. 43a
• 9:45 Case No.44a
• 13:00 Case No.45a
• 16:00 Summary

The post Right Hand Fingering Concepts: Case Studies No.41-45 (Common Textures) first appeared on This is Classical Guitar.

A lesson for classical guitar on feel vs logic in regards to right hand fingering choice. This is from my book: Right Hand Fingering for Classical Guitar: Concepts and Case Studies. This book aims to give students a basic criteria for justifying fingering choices and gaining confidence in deciding fingering for themselves. The combination of concepts and case studies offers a framework for approaching fingering in both logical and musical ways. Here’s the Youtube link if you want to watch it there.

This video covers Examples No.39-40 from the book (Page 27-28).

The post Right Hand Fingering Concepts: Feel vs Logic first appeared on This is Classical Guitar.

Finnish lutenist Tuomas Kourula performs La petite Brunette by Robert de Visée (1655-1733) on theorbo via the Turku Early Music Society and their YouTube channel. Beautiful performance by Kourula with a excellent pacing which sets the mood so well. I also love the setting and the rock holding up the iPad at the end which seems to perfectly represent a lute player in the modern world. Here’s the YouTube description:

“We have a daughter with brown hair and I used to think of her when playing this beautiful, thoughtful piece by Robert de Visée. Later I learned that a “brunette” is actually a song form of French baroque music. The main source of brunettes calls them “Brunetes ou petits airs tendres”, which describes very well the piece I’m playing in this video: a small, tender song. This video was shot in an old, derelict tram paint shop – a place full of character in every sense: visual, aural and olfactory. You can hear the resonance of the room in the video, and there’s something symbolic and hopeful in the way some light finds it’s way through the cracks in the door.”

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External classical guitar albums, editions, gear, products, and composition releases for 2026. Submit your content but beware that only one or two submissions a month will make the list. I can’t list every new thing people do so it’s a lottery and don’t expect anything. Be kind! Email: bradford@thisisclassicalguitar.com

Aaron Larget-Caplan

New Edition
Cider Meditation – SATB + Guitar, audio available, published by the American Composers Alliance.

New Edition
American Patriotic Songs Arranged for Guitar, published by the American Composers Alliance.

New Album
Guitar America 250 – Revolutionaries and Rockstars (Navona Records) • Traditional songs from the Civil to World Wars, Classical works by Bernstein, Berlin, Price (violin-guitar), Hovhaness, Cage, and new works by David Liptak, Ian Wiese, and Paul Simon and Eddie Van Halen. Album info and purchase options here.

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A lesson for classical guitar on Spot Fingering in regards to regulating specific right hand fingering to isolated spots while applying broad concepts for most of the repertoire. This is from my book: Right Hand Fingering for Classical Guitar: Concepts and Case Studies. This book aims to give students a basic criteria for justifying fingering choices and gaining confidence in deciding fingering for themselves. The combination of concepts and case studies offers a framework for approaching fingering in both logical and musical ways. Here’s the Youtube link if you want to watch it there.

This video covers Examples No.35-38 from the book (Page 24-26).

The post Right Hand Fingering Concepts: Spot Fingering first appeared on This is Classical Guitar.

I was listening to a guitar video of Prelude, BWV999 by Johann Sebastian Bach (1685-1750) which a popular work to play on lute or guitar (my vid and edition here). But I’ve heard it so much that I started listening to harpsichord performances of the work and stumbled on this one by Bruno Martins via his YouTube. The reworking at twice the tempo in the second half is quite fun and sounds surprisingly appropriate.

As he mentions “The Prelude in C minor, BWV 999 is one of Bach’s most direct and compact keyboard works, built on continuous motion and harmonic progression. Often associated with the lute repertoire, the piece occupies an ambiguous space between instrumental idioms while remaining firmly grounded in keyboard writing.”

One thing about this piece that I always use for teaching purposes is how the harmonic rhythm changes from long values (every two measures) to short values (every measure) throughout the work which really pushes and pulls the forward motion. Fun to see it in play with so many different performers.

Lute is my usual go-to for this and here is the great Evangelina Mascardi via her Youtube. I like the lilting rhythmic delivery here. This would be closer to the model I would imitate these days.

I also really like North’s balanced approach.

And below is me playing it from many years ago. I feel I take it a bit too metronomically, I think I was aiming for a pristine through-experience at the time. I would perform it today with much more flexibility and increased rhythmic pull to the downbeat and increased phrasing on smaller levels. That said, at the time I was listening to a ton of Andras Schiff play Bach on piano and was leaning in that direction.

A common driving forward-motion interpretation by Janos Sebestyen.

Anyway, just a small post about my thoughts and how they change over the years.

The post Prelude BWV999 on Keyboard, Lute, and Guitar first appeared on This is Classical Guitar.

A lesson on voice separation in regards to deciding right hand fingering for on classical guitar. This is from my book: Right Hand Fingering for Classical Guitar: Concepts and Case Studies. This book aims to give students a basic criteria for justifying fingering choices and gaining confidence in deciding fingering for themselves. The combination of concepts and case studies offers a framework for approaching fingering in both logical and musical ways. Here’s the Youtube link if you want to watch it there.

This video covers Examples No.30-34 from the book (Page 21-23).

The post Right Hand Fingering Concepts: Voice Separation first appeared on This is Classical Guitar.

Slovenian classical guitar Duo Aratik with Jure Cerkovnik & Aljaž Cvirn perform the Gigue from French Suite No. 5, BWV 816 by Johann Sebastian Bach (1685-1750). Recorded by Uros Baric and Baros Records. This comes via the Omni Foundation and their Youtube channel (go subscribe). Amazing ensemble playing by Duo Aratik with stunning rhythmic accuracy and motivic attention.

The post Duo Aratik Perform Gigue from French Suite, BWV 816 by Bach first appeared on This is Classical Guitar.