Guitar News

Giovanni Masi (guitar),Elena Branno (Oboe), Raffaella Cardaropoli (cello) perform Aria Op.146 from Concerto da Camera by Mario Castelnuovo-Tedesco (1895–1968). This comes via the Omni Foundation online series and their Youtube channel (go subscribe). The technical opus number is Aria Op.146a and is a 1968 arrangement for oboe, cello and guitar based on the second movement of an earlier work, the Concerto da Camera (1950), and is dedicated to Margaret Aue and Dorrye Roettger. Beautiful performance, not much to the guitar part but I always love the texture of guitar with wind instruments and the low of the cello adds even further depth.

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Welcome to our comprehensive guide designed to demystify the world of classical guitar! Whether you’re just picking up your first classical guitar or you’re a seasoned player looking for quick answers and insights, our...

Finnish lutenist Tuomas Kourula performs La Mascarade by Robert de Visée (1655-1733) on theorbo via the Turku Early Music Society and their YouTube channel. Nice performance by Kourula with a great rhythmic feel and sound in that fantastic performance spot. Here’s the YouTube description:

The young sparrows living above our space at Admiralty Street seemed to be excited by the sound of the theorbo – a very natural reaction of course. They can be heard chirping away in the background of this Rondeau by Robert de Visée, “La Mascarade”. There’s also a little trick this video, in keeping with the name, one definition of which is “an action or appearance that is mere disguise or show” – but you will have to watch the video and see if you can spot it!

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A review and demo of the SonoFlex Instrument Microphone from CLOUDVOCAL. This is a small Cardioid condenser mic on a gooseneck that can be mounted on a variety of instruments making it a versatile option for a number of situations. The super simple design and nice mic sound make it very usable. As long as you have a compatible device with phantom power, you are good to go. In this review I look at the mic as well as the guitar mount, suction cup mount, and universal clip.

Learn More or Buy at the CloudVocal Website

I had a great time testing out the SonoFlex Microphone on my classical guitar. I’m not big on tech gear so I am always interested to try out something as simple as a mounted mic that just plugs in. Nothing else to worry about, I just get to plug it in and make music. Above you can see my video review or watch it at YouTube if you prefer.

CloudVocal Promo

Below is the CloudVocal Promotional video for the SonoFlex via their YouTube.

Pros

• Amazing usability: The clamp works great and takes only seconds to place on the guitar. It’s padded so I don’t worry about instrument damage. The mounting is super easy, just twist to lock it to the mount and get to playing.
• Natural sound: The sound from the mic itself was good. The noise floor was super silent which impressed me. Classical guitar is difficult to mic but the sound was much more natural than any contact or piezo mic. As usual with classical guitar, the mid range and bass was a touch boomy but I thought the mic did really well. The highs were a bit on the bright side but some eq easily helped with that. Overall, I’d say the mic sound is pretty great compared to similar systems.
• Simple: Mount it, plug in, play. This was so easy and I prefer the simplicity of a wired system. It’s cool that they included the switch for those people who want to go wireless though, keeps it simple but still versatile.
• 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 bass sound. The gooseneck is easy to adjust and stays in place.
• Long wire: I appreciate the belt clip on the xlr and also the long wire so I don’t need other cables in most situations
• Great mounting options. I really like the suction cup option and would consider using the universal clip on a music stand in some situations.

Concerns

• The guitar mount works well but because of my raised fingerboard I did use the little extender piece. The extender on the guitar mount hits my chest just a little, even when mounting it closer to the neck. I could place it on the underside to avoid this but I wish it didn’t do that. I’m glad they included it but maybe there could be a different solution to this problem. The pad that grips is wonderfully minimal and looks sleek and discreet but I wish it extended a bit more for easy clamping and increased grip.
• The suction cup worked great but I wish it had a little pull tab so I didn’t have to get my fingernail under it to release the suction. Also, the little mounting piece came out, I superglued it back on so it’s not a big deal, probably just a one time thing.

Conclusion

I love the usability and simplicity of the SonoFlex Instrument Microphone from CLOUDVOCAL. It’s very easy to setup in seconds and worked great. The sound is much more natural than any contact or piezo mic and had a super low noise floor. Multiple mounting options also make it a versatile option for a variety of musical situations. Although I might recommend some tiny modifications to the guitar mount, it did deliver as a secure setup and the suction cup and universal clip is also a highly desirable option. I’m very happy with the SonoFlex and will be keeping it in my mic collection family.

Learn More or Buy at the CloudVocal Website

Specs

See way more specifications at the SonoFlex page.

• Cardioid condenser capsule, Handles up to 145 dB SPL.
• 12 cm slow recovery gooseneck. Flexible but stable miking.  
• Innovative Rotary Lock. Easy to install, quick to remove.
• Adaptive switch for wired and wireless setups. (Requires a third-party wireless system).
• With the XLR adapter, SonoFlex is compatible with devices that supports 48V standard phantom power.
• 80Hz Low Cut Filter on XLR

PicsThis is the Guitar MountThe Suction Cup MountThe Universal Clip on a Music Stand

The post Review: SonoFlex Instrument Microphone from CloudVocal first appeared on This is Classical Guitar.

Welcome to this week’s Classical Guitar News Roundup, where we share the latest releases, announcements, and upcoming events from the world of classical guitar. Polish Guitarist Mateusz Kowalski Wins European Bach Guitar Award Polish...

Question: How do I position the classical guitar?

You want the guitar at approximately a 45 degree angle with the headstock around eye level. You also should have four contact points at the chest, arm, and legs. But there are many specific variables from the size of the player to the size the guitar and seat height.

See my full lesson: I have a full dedicated lesson on Sitting and Position for Classical Guitar so check that out first as it has tons of tips and photos with diagrams for much more context. I’ve included the video and a few pictures below.

Here are some quick steps to follow

1. Sit with good posture. Align your body with an X-Y axis finding the centre of gravity and allowing your spine to create a solid pillar that your muscles can relax from. Do not lean to one side or the other.
2. Relax both shoulders. Carefully check that one shoulder isn’t raised more than the other.
3. Sit on the forward toward the edge of the chair.
4. Hold the guitar at approximately a 45 degree angle or steeper with the headstock around eye level. Experiment with the height of the footstool or support so the headstock is around eye level.
5. The left foot is raised with the footstool, the right foot is on the ground. With a guitar support both feet will be flat on the ground.
6. Your right arm can come down naturally on the guitar weighted by gravity.
7. The top/face of the guitar should generally be straight up and down and not too angled toward you.
8. Contact points include both legs, the right arm, the chest, and the hands. A guitar support acts as part of the guitar itself for the right leg.

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.

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Italian classical guitarist Giulio Tampalini performs Six pieces brèves (dedicated to Angelo Gilardino) by Hungarian composer Ferenc Farkas (1905-2000). This comes via his YouTube channel. Great performance by Tampalini of this excellent work filled with so much motivic interest. You can find the filming locations in the description of his YouTube videos. Below is some info on the pieces by the composer:

The “Six pieces brèves” were commissioned by Angelo Gilardino, the famous Italian guitarist in 1970. The first movement, “Preambolo”, has the majestic tempo of an introductory piece. It is followed by “Scène de ballet”, light as a waltz. The “Danse guerrière” is a war dance with a powerful rhythm, the fourth movement, “Grinzing”, is a small ironic quotation from the Viennese waltz. After a short “Intermezzo”, the work ends with “Tivorno”, which rhythm is typically Bulgarian. – Ferenc Farkas via ferencfarkas.org

The post Giulio Tampalini Plays Six pieces brèves by Farkas first appeared on This is Classical Guitar.

Start your classical guitar journey with essential tips on choosing an instrument, practice techniques, and overcoming common beginner challenges.

Finnish guitarist Patrik Kleemola performs Minuetto from Sonata Op. 25 by Fernando Sor (1778–1839) on an original René Lacote from 1839. This comes via Kleemola’s YouTube channel (go subscribe). Great performance by Kleemola with an excellent balance of crisp rhythm with beautiful phrasing and pacing. He has some nice info on the work via his YouTube description:

“You have announced a new collection of my works in which there is a grand sonata, in four movements, of which I know nothing unless a book which is at Málaga, among those I left there, has been brought to light. Since this book is only my private record of ideas I never had any intention to publish it and I cannot imagine how it came into your hands. I had started there a grand sonata in B-flat, another in C and another in F minor and another in G. ” Fernando Sor’s letter to Antoine Meissonnier, (his publisher in Paris) 1st of April 1827 (St. Petersburg, Russia)…The letter was published in the article by Erik Stenstadvold in Soundboard Scholar No. 3 (2017)…

This charming Minuetto by Sor, an encore favourite by both Segovia and Bream during the 20th century, is from “a Grand Sonata” which was, as the above letter shows, published under suspicious circumstances. It seems clear that the famous four-movement Sonata Op. 25 wasn’t published under the supervision of Sor at all and was probably compiled out of different sources handed to the publisher. As suggested by Sor himself, the publisher Meissonnier didn’t hesitate to sell anything with the name of Sor on the manuscript (whenever the composer was away from Paris). In the letter Sor remembers that he started a grand Sonata in C back in Spain, meaning that he didn’t finish any of the Sonatas…

Read the rest of his excellent writeup at his Youtube here.

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The amazing Liying Zhu performs Five Bagatelles for Guitar by English composer Sir William Walton (1902-1983). This video comes from the amazing GuitarCoop and their fantastic YouTube Channel. I am always impressed by Zhu’s playing with beautiful phrasing and the contrast between her silky legato lines and clear articulation and virtuosity. One of the best players of our time.

The post Liying Zhu Plays Five Bagatelles by Walton first appeared on This is Classical Guitar.

Enhance your classical guitar skills with a structured practice checklist, focusing on technique, consistency, and overcoming challenges.

Study No.5, Op.40 by Leonard Schulz (1813-1860) from Exercises and Studies for the Guitar, “The Indispensable”. PDF sheet music for classical guitar with performance and lesson video. Comes with both a notation edition with left hand fingering and a separate tab edition. The level is mid-intermediate (grade 6) depending on your technique, desired tempo, and level of refinement. 

My pdf sheet music edition

• Study No.5, Op.40 by Schulz (PDF) from Werner Guitar Editions

This is an excellent etude for upper voice finger alternation, musical balance, and even left hand finger clearance work. It’s also a interesting musical work where the upper line slowly takes on more and more melodic material as the work progresses offering a nice study in controlling the texture. Here’s the YouTube link if you want to watch it there.

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 Augustine Regal strings and a One for All Guitarlift support. All my gear here.

Sheet Music SamplesThe post Study No.5, Op.40 by Schulz first appeared on This is Classical Guitar.

The Woodside Support is a highly adjustable guitar support with an excellent design and quality craftsmanship. It feels secure, stable, and comfortable. It also has varying degrees of guitar mobility while attached. 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 various accessories allow for higher or lower guitar positions and the angle block adjustment for a steeper guitar angle and closer proximity.

The above YouTube video is for the GS4-Lev Pro but see past reviews below.

More info, specs, and purchasing: Visit Woodside Guitars

Also see their list of international dealers where you can purchase the support.

The Pros of the Woodside Support

• Quality craftsmanship
• Feels secure and solid
• Trustworthy in performance compared to suction cups
• Adjustable custom height, angles, and positioning of the guitar
• Good maneuverability when attached if desired
• Quick to put on or take off
• Pivoting clamp system compensates for various guitars and raised fingerboards
• Easy hand adjustments for tightening and angles
• Even works on the right leg position for those who need it
• Works on matte finished guitars

Accessories

• Various Length Accessories – A number of longer or shorter collars and pieces allow for a very high or very low guitar position ensuring you will find the correct position.
• Angle Block (15º or 25º angle) – The additional Angle Block is excellent. I’ don’t need it ‘m happy with the standard 15º block but the 25º option really opens up possibilities for steeper angles and closer proximity. 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 it can help equalize and drop of the shoulders for relaxation depending on your body type and preferences.

Concerns and Discussions

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 direct force 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 GS3 review below.

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 Vinyl 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 but I’m picky in this regard.

Conclusion

The Woodside Guitar Support is a highly adjustable, secure, and comfortable guitar support. I trust it in performance and love how the support and accessories enable the player to achieve a perfect custom guitar position.

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

Past Review of the GS3

Photos of the GS4-Lev ProPhotos of the GS3 The post Woodside Guitar Support Review first appeared on This is Classical Guitar.

Classical guitarist Andrew Wilder performs Partita for Guitar, Op. 34 by Finish composer Einojuhani Rautavaara (1928-2016). This comes via Wilder’s YouTube channel (go subscribe). Amazing performance by Wilder with everything from rapid virtuosity to beautiful phrasing. I really appreciated his sense of balance and handling of the texture in the thicker second movement.

Einojuhani Rautavaara was one of the most notable Finnish composers since Jean Sibelius. I’ll try to find out more about this work and who it was composed for. The partita was originally written for guitar, and was later transcribed for piano by the composer. There is a small description by Rautavaara of the piano arrangement via this Naxos album:

The first sketches for the minor set of variations, Partita, were written in New York in 1956. I was working on a composition for a guitarist, and there are still traces of guitar texture detectable in the piano work, for instance in the accompanying chords of the second movement. The guitar piece was never completed, but two years later I fashioned the material into a partita for piano. This work has three movements of differing character, variations on the same motif.

The post Andrew Wilder Plays Partita for Guitar, Op. 34 by Rautavaara first appeared on This is Classical Guitar.

La Rêveuse with Benjamin Perrot (archlute) and Florence Bolton (viola da gamba) perform Adagio in D minor (Drexel manuscript) by Carl Friedrich Abel (1723-1787). This comes via La Rêveuse on YouTube (go subscribe). La Rêveuse is a French chamber group, founded in 2004 by lutenist Benjamin Perrot and violist Florence Bolton, that specializes in performing and recording 17th and 18th-century music.

Beautiful performance and wonderful to hear a duo of lute and viol creating such a resonant and rich texture for only two performers. He’s a small description of their album London circa 1760:

London, 1760. Handel had just died and George III acceded to the throne. During the reign of this monarch and his queen Charlotte, both discerning musicians, musical life in the British capital was to enjoy an exceptional revival. Virtuosos and composers from all over Europe flocked there, vying with each other in originality and modernity. Now La Rêveuse invites us to sample the creative whirlwind of the age, spinning from viol concertos to airs for musical glasses . . .

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