Guitar News

Classical guitarists Émilie Fend and Goran Krivokapić perform Jongo by Brazilian guitarist and composer Paulo Bellinati (b.1950). This comes via Fend’s YouTube channel (go subscribe). Amazing performance by this new duo comprised of two of my favourite players. Their rhythmic precision, clear sound, and beautiful ensemble phrasing is top notch.

A short word via the Youtube description: “Dive into the vibrant rhythms of Brazil with Jongo by Paulo Bellinati. Rooted in Afro-Brazilian traditions, this energetic and groove-driven piece comes alive in an arrangement for two guitars, blending percussive drive, lyrical lines, and infectious rhythmic interplay.”

The post Émilie Fend and Goran Krivokapić Perform Jongo by Bellinati first appeared on This is Classical Guitar.

Lutenist Elizabeth Pallett performs Go From My Window by John Dowland (1563-1626). This comes via Pallett’s YouTube (go subscribe). Pallett is recording a ton of Dowland as part of a collection celebrating his works and marking the 400th anniversary of his death. Beautiful performance with charming embellishments and setting. Filmed at Hellens Manor, Herefordshire, England.

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Classical guitarist Penelope Shvarts performs Prelude No.3 from 6 Preludes, Op.46 by Emilia Giuliani (1813-1850). This comes via Ex-Aequo 2025 Emerging Artist Residency in Austin, TX and their Youtube (go subscribe). Video by Drew Henderson. Emilia Giuliani (1813-1850) was an Italian composer and guitarist and the daughter of the guitarist-composer Mauro Giuliani.

Excellent performance by Shvarts with wonderful contrasts between the direct-extroverted outer sections and more expressive inner section. I’ll be making an edition of the 6 preludes in the future so it’s great to hear more recordings of the repertoire.

The post Penelope Shvarts Performs Prelude No.3, Op.46 by Emilia Giuliani first appeared on This is Classical Guitar.

A lesson on the concept of string spacing and ergonomics on classical guitar and how it relates to right hand fingering choices. A number of examples are examined as well as a comparison of the opening of Carcassi Etude No.1, Op.60. 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.15-18 from the book (Page 12-13).

Covered in this lesson

• String spacing basics
• Ergonomics of larger spacing
• Comparison of Carcassi Etude No.1, Op.60

The post Right Hand Fingering Concepts: String Spacing and Ergonomics first appeared on This is Classical Guitar.

Question: How is the weight of the left arm used in classical guitar technique?

When proper technique, sitting position, and curved fingers are in use, the weight of the left arm can be used to help pull the fingertips into the strings of the classical guitar. This helps relieve the tendency of students to use a vice grip between the fingers and thumb of the left hand. Although classical guitarists primarily use this advice when discussing barre technique, it is also subtly used for general playing technique. Let’s look at some various techniques and how this tip can help.

Left arm weight during barre technique

Provided your barre technique is solid you do not need to vice grip the 1st finger and thumb to press the strings to the fret. A great way to test this is to remove your thumb from the fretboard and play the barre using only the weight of your arm to press the strings down. There is a specific angle you want to discover for this (see the video below). Your shoulder might help a bit a well which we will discuss below.

Here is a video on barre technique and at 1:50 I demonstrate this concept.

Left arm weight when playing non-barre chords and melodic notes

Just as with barre chords, if you are using good technique positions and curved fingers, the weight of the left arm can help pull the fingertips into the strings to avoid the vice grip of the left hand. However, the use and amount of weight is much less than it is for barre technique because we want the fingers to be able to reflexively move on and off the strings without weight or tension attached. The left arm is supporting the hand to allow the fingers easy on-off motions from the strings. In melodic playing not much weight or pressure is needed at all. During thick chord shapes maybe a touch more is needed but still likely not as much as students think.

My advice is to monitor tension and vice gripping in the left hand and when you feel tension during a thick or difficult chord, try using a bit of arm weight and release left hand thumb pressure.

Learning to press less hard – This brings us to a more important discussion which is directly related to this question: how much pressure is needed? Students tend to use much more pressure than is needed to press the strings to the frets. Nylon strings are super easy to press down but once weird shapes and poor technique come into the mix the natural tendency of many students is to squeeze hard to correct for buzzing. Here is a video on the topic as well as exercises to avoid tension and vice grips.

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

What about shoulder use and strength?

Is it all weight from the arm or is some shoulder strength used? When I teach I don’t like to mention shoulder strength because it implies an amount of force that is not needed for playing classical guitar. However, I reluctantly agree that some shoulder strength pulling a barre finger into the strings along with the weighted arm can help in some situations.

But I caution you to not think of it as shoulder strength. Think of it as supplementary directional energy. This is a subtle technique and I would never tell a beginner student to “put shoulder into it”. Instead, focus on good technique in the hands, accuracy (close to the frets), and weight of the arm instead of shoulder strength. If you train your technique in this way you’ll be able to figure out the subtle use of the shoulder in a context that is healthy and non-destructive to your foundational skills.

Need a Technique Book?

Check out 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.

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 is the weight of the left arm used in classical guitar technique? first appeared on This is Classical Guitar.

A lesson on the concept of string crossing and ergonomics on classical guitar and how it relates to right hand fingering choices. In this lesson we cover ergonomic string crossings and awkward string crossings and relate the discussion to finger alternation. 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.8-14 from the book (Page 8-11).

Covered in this lesson

• Ergonomic string crossing
• Awkward string crossing
• Avoiding awkward crossings or playing through them

The post Right Hand Fingering Concepts: String Crossing and Ergonomics first appeared on This is Classical Guitar.

A lesson on the concept of finger alternation on classical guitar and how it relates to right hand fingering 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.

This video covers Examples No.1-7 from the book (page 6-7).

Covered in this lesson

• Why do we use right hand finger alternation
• What are the benefits
• Repeating fingers
• The difficulty of random fingering

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

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. This is a pdf download.

Buy the pdf booklet from my store

• Right Hand Fingering for Classical Guitar on Werner Guitar Editions

Included in this pdf booklet

• 58 pages of text and notation examples
• Notation-only with fingering
• Text explanations and debates
• Comparisons of fingerings
• Free video lessons for each concept and example

Level – This book is for the intermediate student but can be beneficial to all levels either as an introduction to right hand fingering concepts or as a clarification of values for advanced students. Most conceptual examples are basic open string exercises attainable to beginners and all levels. However, the repertoire examples are mainly from the intermediate repertoire. Therefore, in order to gain maximum benefit from the case studies, a level of grade 4-7 is recommended.

Video Lessons and Contents

Videos to be release this January and February.

Concepts – This section forms a basic criteria for examining or choosing right hand fingering in a variety of musical textures.

• Alternation (Exercises No.1-7, page 6-7) 
• String Crossing and Ergonomics (Exercises No.) 
• String Spacing and Ergonomics (Exercises No.) 
• Rest Stroke and Free Stroke Considerations (Exercises No.) 
• Repetition of a Single Finger (Exercises No.) 
• Playing Arpeggios Across Five and Six Strings (Exercises No.) 
• Voice Separation (Exercises No.) 

Additional Thoughts – Clarity on how we approach fingering in a practical way and in the practice room.

• Spot Fingering (Exercises No.) 
• Feel vs Logic: Personal Preference and Cautionary Tips(Exercises No.) 

Case Studies and Comparisons – Using the concepts learned in the first section, multiple musical examples are examined and debated.

• Common Musical Textures (Exercises No.) 
• Alternation and Repeated Fingers (Exercises No.) 
• Playing Across the Strings
• Thumb Use and Voice Separation
• Additional Case Studies

Final Advice

• Curiosity and Exploration, a Natural Part of Learning Music

Student Q&A

If you have a question about the book leave a comment below and I’ll organize the answers here.

The post Right Hand Fingering for Classical Guitar: Concepts and Case Studies first appeared on This is Classical Guitar.

Shiqi Zhou performs Fantasia, Op. 19 by Luigi Legnani (1790-1877) on a 2013 Pepe Romero classical guitar. This comes via Guitar Salon International and their YouTube channel (go subscribe). Very impressive performance with amazing layered dynamics and confident articulations. The accents and weighted articulation mixed with the phrasing is incredible in terms of performance depth and feel.

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Hungarian classical guitarist Zsombor Sidoo performs Partita No.2, BWV 1004 in D Minor for solo violin by Johann Sebastian Bach (1685-1750). This comes via Sidoo’s YouTube channel (go subscribe). Nineteenth century guitar by Bernhard Kresse. I really enjoyed Sidoo’s performance of Partita No.1, and it looks like he might be recording them all. A wonderful and musically balanced performance with excellent motivic attention, articulation, and pacing.

Movements and Times

• Allemanda 00:00
• Corrente 05:10
• Sarabanda 07:45
• Giga 12:00
• Ciaccona 16:27

The post Zsombor Sidoo Performs Partita No.2, BWV 1004 by Bach first appeared on This is Classical Guitar.