Guitar News

Beautiful performance! Mara Winter (traverso) & Robert Barto (lute) perform the Gigue from Duo-Sonata in D minor by Sylvius Leopold Weiss (1686–1750). This sonata is from ‘The London Manuscript’ (ca. 1717-1725), missing original duo part reconstructed by Karl-Ernst Schröder. This comes via Mara Winter’s Youtube channel.

The traverso, sometimes called a Baroque flute, is a wooden transverse flute that was used during the Baroque period and into the mid-19th century. Mara Winter is playing a Traverso after Buffardin Le Fils by Giovanni Tardino (Basel, 2024). Robert Barto is playing a 13 course baroque lute by Andrew Rutherford (New York City, 1996).

A review and demo of the Xvive U8 Acoustic Guitar Wireless System. This is a clamp mounted wireless mic that works on classical or acoustic guitars.

Learn more or Buy from Xvive

Or Find it at Long & McQuade

I had a great time testing out the Xvive U8 Acoustic Guitar Wireless System. There were many reasons why I was interested in this product. Using a real microphone for playing gigs is very desirable as it produces a much more natural sound for the classical guitar compared to contact or piezo mics. Plus, the wireless aspect is very interesting, especially in a setting where movability is an issue (although classical guitarists are usually pretty static). Below you can see my video review or see it at YouTube as well as more thoughts and media.

• Amazing usability: The clamp works great and takes only seconds to place on the guitar. It’s padded so I don’t worry much about damage. There are only two buttons! So clamp it on, push the on button, and you’re ready to play.
• Natural sound: Compared to contact mics and piezos an actual mic sounds so much more natural. I’m not saying it sounds perfect, but it does sound way more natural. Piezos sound like electric-classical guitars with a real different tone. This sounds like my guitar (very close mic’d of course). Contact and piezo pickups don’t pick up sound from around you which is very helpful in close-proximity gigs but they also don’t have the ability to change the sound as much as a directional mic that you can experiment with.
• Wireless: Very cool to be wireless. I mean, for static classical guitar it actually doesn’t make a huge difference to me but kind of neat to not have cables around.
• Very directional mic and gooseneck: This is good as you can either direct it at the sound hole for tons of loud signal or away to reduce right hand noise or an unnatural close mic sound.
• Channel selector: Finding the right channel is essential. There are 6 channels and I found testing each one that channel 4 was much less noise in my studio room. Very important feature!

• I noticed some white noise: Maybe this is just because my room full of electronics (recording gear, spot lights, tube lights, chargers, cameras) but it’s certainly there. This wouldn’t bother me too much in a live setup since the guitar sound is so much louder. In the studio (through my interface) I could hear it quite a bit, although I was able to almost get rid of it with post-EQ. Not a huge deal but you should know that it’s definately there.
• Bass rumble: I did notice the mic was having a little trouble with bass rumbling but I found that mounting on the lower bout was really helpful for this. I kind of show this in the video but experimenting is key to this issue. Modern high-end classical guitars vibrate a lot and so maybe it was even happening through the mount itself.
• The receiver is an XLR out so all you people with guitar amps without a mic input should keep this in mind. Maybe there are adapters you can get.

I love the usability of the U8, it’s so easy to setup in seconds and worked great. The sound is much more natural than any contact or piezo mic but did come with some noise and bass rumble (maybe in part due to my setup). Ongoing experimentation is key to finding the best sound with the device and your personal setup. I’d be curious if a wired system would be quieter but then again, the wireless aspect is very cool and might be an essential buying point for many guitarists. Very interesting product and nice design overall. I’m excited to keep experimenting with it and trying it out in different environments.

Xvive Promotional Introduction via their YouTube.

See way more specifications at the Xvive U8 page.

• Receiver uses an XLR output
• 2.4 GHz wireless system with a 142 dB SPL supercardioid microphone
• High-resolution 24-bit/48 kHz audio, less than 5 ms latency
• 20 Hz – 20 kHz frequency response
• Dynamic range of 108 dB, signal-to-noise ratio of 108 dB
• Up to 5 hours of battery life
• 6 wireless channels
• Wireless range: up to 90 feet (27 m)
• Includes transmitter, receiver, microphone, clip, USB-C cable, foam windscreen and fur windshield, carry case

Matthew McAllister performs a tiny concert including works by Rameau, Towner, and the folk song Wild Mountain Thyme. This comes via Siccas Guitars and their YouTube channel where you can also see which guitars are being played in the description. Beautiful playing by McAllister with flowing phrasing and such a nice bell-like tone. You can see more of his videos via his popular YouTube channel Gallery of Guitar.

Video Times and Repertoire

• 00:00 Matthew says Hello
• 00:32 “Entrée de Polimnie” from the opera “Les Boréades” by Jean-Philippe Rameau (arr. by Johabe Music)
• 07:23 Wild Mountain Thyme (arr. by Scott Tennant)
• 10:17 Always by your side by Ralph Towner

Duo Imbesi Zangara (Carmelo Imbesi and Carmen Zangarà) and the A.Scarlatti Plectrum Orchestra of Palermo perform the concerto for two guitars and plectrum orchestra, Konzert für zwei Gitarren und Zupforchester by German composer Hermann Ambrosius (1897-1983). This comes via the Duo’s YouTube channel.

Wonderful performance by Duo Imbesi Zangara with excellent ensemble work, beautiful tone, and a real nice balance with the plucked orchestra. Here’s what they mention about the composer: “Hermann Ambrosius, a lesser-known German impressionist composer to today’s general audience, boasts a compositional output of over 500 works, including many for the guitar repertoire and for the Zupforchester, our Plectrum Orchestra.”

7 Technique Categories to Practice Every Day on Classical Guitar and the importance of using hundreds of progressive and organized exercises designed to help you succeed. Here’s the YouTube Link if you want to watch it there.

Although I already have a number of articles on how to practice, I thought it was important to discuss the how to structure and conceptualize technique practice. I also wanted to clarify in this video that progress is made by using progressive materials and hundreds of exercises that can be broadly put into categories. Thinking in terms of categories allows you to address specific issues related to your unique and personal development while also staying focused on a curriculum or guide.

If you’re an intermediate student, these seven categories should be practiced every day but the actual material you choose should be based on your personal skill level. I’ve never taught a student who is perfectly balanced in technique and doesn’t have certain strengths or weaknesses. Therefore, thinking in terms of categories allow students to be dedicating more time to challenging techniques but still using progressive materials which will help them succeed. This is the difference between maintaining technique and using specific materials to improve your technique.

Video Times and Topics

• 00:00 Intro
• 0:51 Hundreds of Exercises are Good
• 2:31 Progressive Exercises
• 3:08 Categories Intro
• 4:23 1. Open String Exercises
• 6:50 2. Scales and Melodic Patterns
• 9:18 3. Arpeggios and Right Hand Patterns
• 10:49 4. Slurs (Hammer-ons, Pull-offs)
• 12:18 5. Finger Independence
• 13:33 6. Barre Exercises
• 16:48 7. Stretch Exercises (Horizontal, Vertical)
• 20:50 The Secret: Building a Good Routine

My Technique Book with Routines and Lots of Exercises

• My Technique Book with Routines for Various Levels

Recommended Lessons

• How to organize your practice session
• Using Repetition in Music Practice
• Practicing Difficult Passages in Music
• Using Large Technique Books: Maintenance & Exploration

Marcin Dylla performs Mazurka Appassionata by Agustin Barrios Mangore (1885-1944). This comes via Dylla’s YouTube channel. Beautiful performance by Dylla of this very intimate work with such nice silky phrasing and tone. Below is a small writeup about the work by Graham Wade via this Naxos album:

“Mazurka Appassionata (‘Passionate Mazurka’), written around 1919, was also titled as The Soul of María Esther, a lady with whom it is said Barrios fell in love while in Brazil (1916–20). One of the composer’s most sensuously ethereal works, its inventiveness demonstrates his mastery and understanding of the guitar.”

Do you need to practice for hours and hours to improve at guitar? In this lesson I explore how the quality of your practice is far more important than the amount of time you practice. Although I already have a number of articles on how to practice, I thought it was important to discuss the quality of your practice time and how you don’t need to practice for hours and hours to make progress. Here’s the YouTube link if you’d like to watch it there and feel free to support these free lessons.

Video & Lesson Outline

• 00:00 Intro
• 1:26 General Answer and Advice
• 4:27 Proper Knowledge and Technique
• 6:52 Appropriate Materials for Maintenance and Improvement
• 8:53 Intention to Improve
• 9:52 Maximum Concentration and Accuracy
• 13:16 Relaxation + Ergonomics + Musical Knowledge and Appreciation
• 16:15 How much time is enough?

Helpful Links

• How to organize your practice session
• My Technique Book with Routines for Various Levels
• Using Repetition in Music Practice
• Practicing Difficult Passages in Music
• Using Large Technique Books: Maintenance & Exploration

Mozart and Haydn: Classical Guitar Transcriptions
by Andrew Wilder

Listen or buy via Spotify, Apple, or BandCamp.

Great to hear the new album by Andrew Wilder with 14 of his own transcriptions of works by Wolfgang Amadeus Mozart (1756-1791) and Franz Joseph Haydn (1732-1809). The album even includes a transcription of a Mozart work rediscovered in 2018.

Wilder is a fantastic player with an amazing rhythmic delivery and momentum. His performances also have meticulous motivic exploration and beautiful phrasing. Mozart and Haydn rarely sound so natural in the hands of a guitarist. You might also be interested in his previous recording which I thought was amazing as well, Bach: Complete Lute Works.

Repertoire

• Allegro in D Major, K. 626b/16 (Mozart)
• Adagio in C Major, K. 356 (Mozart)
• Sonata in D Major, Hob. XVI: 4 (Haydn)
  • I. Allegro
  • II. Minuet & Trio
• Adagio in E-Flat Major, K. 15kk (Mozart)
• Andante in B-Flat Major, K. 15q (Mozart)
• Allegro in F Major, K. 33b (Mozart)
• Sonata in A Major, Hob. XVI: 12 (Haydn)
  • I. Andante
  • II. Minuet & Trio 02:59
  • III. Finale
• Adagio in B Minor, K. 540 (Mozart)
• Sonata in D Major, Hob. XVI: 14 (Haydn)
  • I. Allegro Moderato
  • II. Minuet & Trio
  • III. Presto

David Russell performs Air Varié No.1, Op.21 by Giulio Regondi (1822-1872) on classical guitar in San Martín. Frómista, Spain. This comes via the Omni Foundation series and their Youtube channel. Beautiful performance as always from Russell with excellent pacing and phrasing throughout. Below is an excerpt from these great liner notes by Colin Cooper via this Naxos album:

Giulio Regondi had a disturbed early life. His German mother seems to have vanished early in his childhood, and it was his Italian father (or stepfather, by some accounts) who brought him up and, a guitarist himself, presumably gave him his first lessons on the guitar. Teaching, however, gave way to exploitation, and when this manipulator disappeared with the young prodigy’s earnings, Giulio had a hard time of it. The help of friends and his own resilience ensured survival, though we shall never know how far this early trauma contributed to his untimely death at the age of fifty from a painful cancer.

Unlike many child prodigies, Regondi matured into an artist of poetic genius. His reputation increased accordingly. In childhood he had met and played in concert with the guitarist Catherine Josepha Pelzer (Madame Sidney Pratten). Fernando Sor dedicated Souvenir d’Amitié, Op.46, to him, and he was to give concerts with musicians such as the pianist Ignaz Moscheles, the singer Maria Malibran and the pianist Clara Schumann, all musicians at the top of their profession.

Regondi’s guitar compositions reflect not only his gentle nature but also the high romanticism of his period. The discovery by Matanya Ophee of 10 Etudes, previously thought to be lost, compelled a revaluation of Regondi’s contribution. The two Airs Variés, Op.21, and Op.22, can only reinforce the new respect that ensued. Each begins with a slow introduction, followed by an Andante theme, slightly operatic in character, after which come a number of variations (four in Op.22, five in Op.23) that show off the resources of the instrument: brilliant passages of demisemiquavers (32nd notes), a minor-key tremolo, consecutive ninths and triplets.

Four Beautiful and Easy Early Music Works for Classical Guitar – I love these four pieces and they just happen to be at the easy-intermediate level of grade 2-4. These four works come from my Easy Classical Guitar Volume 2 which includes 15 Authentic Pieces from the Renaissance to Romantic era. PDF or hardcopy sheet music for classical guitar with video lessons. All works from guitar and lute sources. Comes with both a notation edition with fingering and a separate tab edition. The level is easy-intermediate or post-method book to Grade 3. Composers include: Anonymous Lute Works, Negri, Calvi, Kellner, Sor, Carulli, Molino, Mertz. An authentic collection from the Renaissance, Baroque, Classical, and Romantic eras. Here is the YouTube link if you want to watch it there.

Above video repertoire and times

• 0:00 Intro
• 0:57 – Il Bianco Fiore by Cesare Negri (c.1535-1605) – Renaissance Lute (Grade 2)
• 2:17 – Sarabande by David Kellner (c.1670-1748) – Baroque Lute (Grade 3)
• 3:33 – Double by David Kellner (c.1670-1748) – Baroque Lute (Grade 4)
• 4:40 Tu Anderai col Bocchalon – Anonymous Renaissance Lute (Grade 2)

Full lessons for each piece can be found here:

• Il Bianco Fiore by Cesare Negri (Grade 2)
• Sarabande by David Kellner (Grade 3)
• Double by David Kellner (Grade 4)
• Tu Anderai col Bocchalon (Anonymous Lute) (Grade 2)

Greek classical guitarist Ioanna Kazoglou performs a concert of works by Dionisio Aguado, Joaquín Turina, Francisco Tárrega, Joaquín Rodrigo, Vicente Asencio, and Joaquín Malats. This comes via Siccas Guitars and their YouTube channel where you can also see which guitars are being played in the description. Amazing performance by Kazoglou with impressive contrasts between zippy lines, articulation, and beautiful melodic phrasing. Great directional momentum in her lines and overall clarity of sound and intention of musical gestures throughout.

Repertoire

• 00:00 Allegro brillante by Dionisio Aguado
• 02:41 Andante y Rondo Op. 2 No. 2 by Dionisio Aguado
• 11:30 Endecha by Francisco Tarrega
• 12:41 Maria & Marieta by Francisco Tarrega
• 16:09 Sevillana by Joaquin Turina
• 22:33 Serenata Española by Joaquim Malats
• 26:24 Etude No. 12 by Heitor Villa-Lobos
• 28:24 Collectici Intim (IV La Gaubanca) by Vicente Asencio

Classical guitarist Domenico Mottola performs Variations sur Folia de España et Fugue by by Mexican composer Manuel María Ponce (1882–1948). This comes via Edoardo Lambertenghi’s YouTube channel. Amazing performance by Mottola with an impressive variety of unique interpretations of each variation. Such a wide array of articulations and virtuosic handling of the textures.

This is one of the major works in the classical guitar repertoire partly for its quality but also for sheer scope. La Folía (Spanish), also folies d’Espagne (French), Follies of Spain (English) or Follia (Italian), is one of the oldest remembered European musical themes and has been the theme of countless sets of variations from composers throughout time.

Solitude by Uros Baric
2024 Baros Records
Uros Baric

Buy or Learn More at Baros Records

Streaming on Apple Music/Spotify/YouTube Music December 15

It’s been wonderful listening to the new album Solitude by guitarist Uros Baric. His latest release is a collection of minimalist and contemporary classical music on classical guitar with arrangements of Ólafur Arnalds, Philip Glass, Paul Leonard-Morgan, Ludovico Einaudi, Max Richter, Yann Tiersen, and Yiruma. This is a beautiful album filled with special performances and a particularly intimate sound and recording quality that brings out the peaceful and spacious nature of the instrument and compositions.

As Baric mentions, “Solitude is more than just a collection of minimal music, it is an exploration of the space and time between the notes, where emotion and contemplation reside. The interpretations invite you to pause, listen closely, and appreciate the subtle beauty that emerges from simplicity, a testament to the power of music to evoke profound feelings with the gentlest of touches.”

You can find the sheet music for arrangements below the album info at his site.

See many more tracks and live performances from Baric’s YouTube channel.

• Ólafur Arnalds, arr. Uros Baric
  • We Contain Multitudes
  • Tomorrow’s Song
  • saman
• Philip Glass, arr. Uros Baric
  • Glassworks: Opening
• Yann Tiersen, arr. Uros Baric
  • Comptine D’un Autre Été (from Amélie Soundtrack)
• Philip Glass / Paul Leonard-Morgan, arr. Uros Baric
  • Walk To School
  • Hope
  • Gaddis Theme
  • Life Of May
• Ludovico Einaudi, arr. Uros Baric
  • Natural Light
  • Adieux
• Yiruma, arr. Uros Baric
  • River Flows In You
• Max Richter, arr. Uros Baric
  • Prelude n. 6
  • The Departure (Diary)
• Ramon de Wilde, arr. Uros Baric
  • The Life Of Death

Capricho Arabe by Francisco Tarrega (1852–1909), Serenata para Guitarra, Al eminente maestra Tomas Breton. PDF sheet music and lesson video for classical guitar. Comes with both a notation edition with left hand fingering and a separate tab edition in the same pdf. The level is early to mid-advanced (Grade 9) depending on your tempo and level of refinement.

My PDF Sheet Music Edition

• Capricho Arabe by Tarrega from Werner Guitar Editions

Capricho Árabe is one of Francisco Tárrega’s (1852–1909) most famous works. It has become one of his most popular works due to its rich sound, Romantic feel, and the strong melodic lines. It also works fairly well on guitar making it accessible to pros and students alike. That said, make sure you are at the level to take on this work as it is a significant undertaking and has quite a few barres and a few stretches here and there. I highly recommend you try out of some Tarrega’s easier works, such as Lagrima, which you can find with grade levels on the main sheet music page.

Above is my performance and lesson but check out the other performances below for pro reference. Here’s the YouTube lesson link if you want to watch it there.

I recommend this video of Marcin Dylla playing Capricho Árabe. This come via Siccas Guitars and their YouTube. Almost the same fingerings.

Also see this nice performance. Different fingerings but good ones too. Capricho Arabe – Francisco Tárrega played by Sanel Redzic

Nice phrasing by Ana Vidovic via Siccas Guitars and their YouTube channel.

C Major Chord Song and Melody: Morning Has Broken, Hymn on a Scottish Tune. This lesson comes from my Classical Guitar Method Book Volume 2. The student plays chords on their own and the melody on its own. There are many benefits of strumming chords for classical guitarists. Knowing the chord shapes is essential as they are the same shapes used in many classical guitar works. Also, the free rhythmic strumming can give students flexibility, versatility, and confidence in natural rhythmic patterns.Here’s the YouTube Link if you want to watch it there.

A few things to work on:

• Tap your foot to the quarter note and strum
• Count the beat out loud and strum
• Once you are comfortable with strumming to the beat you can try some varied rhythmic patterns while keeping a steady beat.
• If you have trouble changing from chord to chord in time try slowing it way down while also keeping a steady beat. The other thing you can do is to reduce the number of strums you do, for example, only strumming once per measure. Anything you can do to keep a steady beat and present the chord is useful to your development.

Big thanks to Natasha Pashchenko for helping with the duets. Natasha is an excellent guitarist, teacher, and friend from Victoria, BC.

Vals, No.1, Op.241 by Ferdinando Carulli (1770-1841) This lesson comes from my Classical Guitar Method Book Volume 2. This work comes from the C major section of the book so after practicing the scales and chords you’ll recognize some of the shapes and patterns. Aim for a strong sense of the pulse, particularly the first beat of each measure. You also want to sustain the notes of chord shapes within the measure and have legato melodic passages. Here’s the YouTube Link if you want to watch it there.

C Major Duet: Menuet en Rondeau by Jean-Philippe Rameau (1683-1764). This lesson comes from my Classical Guitar Method Book Volume 2. The student plays the top part as a solo or duet. This work is originally for keyboard but arranged for two classical guitars. Here’s the YouTube Link if you want to watch it there.

The main things to work on here are:

• Alternate your right hand i-m fingers with free stroke
• Since it is only a single musical line, aim for a very high quality legato performance
• Being able to play with a metronome as well as being able to count as you play will help your skills regardless if you are playing it as a duet or as a solo melody

Scales, triads, and chords in C Major. This lesson comes from my Classical Guitar Method Book Volume 2. This section presents knowledge and technique practice for the key of C major. These will be helpful for the duets, pieces, and chord songs in C major as they use many of the same shapes and patterns. Familiarity of the key via scales, triads, and chords will help you read and play the repertoire more easily. Here’s the YouTube Link if you want to watch it there.

Tips for the scales

• Use right hand alternation for the scales practicing in both rest stroke and free stroke
• Practice with i-m alternating fingering but also m-i, m-a, and a-m

Tips for the Arpeggios and Triads

• Sustain the notes, that is, keep your fingers down after playing each note and let it all ring out as a chord

Tips for Chords

• If you have difficulty forming the shapes, try placing your fingers on the strings but do not press down. Simply touch the strings without any pressure or tension. Many students find they can easily play the shapes without the tension.
• After you can make the shape comfortably you can try getting the bass note first and then the rest of the notes and add only enough pressure to push the string into the fret (very little).
• When trying to use less tension it is essential to play close to the frets as much as comfortably possible. This will reduce buzzing and allow you to play in a relaxed way.

Congratulations to these amazing young guitarists whose skill and artistry were nothing short of astounding in their final round performances for the 20th edition of the GFA’s International Youth Competition. Our esteemed judges had the difficult task of whittling it down to only four per division, and then ranking them by their final round videos. Thanks to all who participated for their preparation and courage in sharing their music with us, this was a stunning final round!

Rose Augustine Grand Prize:
Leonela Alejandro (Puerto Rico)

2nd Place:
Hao Yang (China)

3rd Place:
Dragos Ilie (Romania)

4th Place:
Francisco Luis (Portugal)

Congratulations to all of the incredible finalists for their hard work, perseverance, and masterful artistry. You have truly risen the bar of what can be achieved.

We look forward to seeing everyone in Louisville at the 2025 GFA convention!