Guitar News

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.