This is Classical Guitar

Greek classical guitarist Filippos Manoloudis performs Les Grâces by French harpsichordist and composer Jacques Duphly (1715–1789) from his Troisième livre de pièces de clavecin (Third Book of Harpsichord Pieces), published in Paris in 1756. This comes via Guitar Salon International and their YouTube channel (go subscribe). Wonderful performance with a excellent ornamentation that is well paced and thoughtfully executed. I’m so impressed with his adaptation and interpretive style of the harpsichord using modern guitar technique. Very expressive and delicately ornate.

Below is a performance by Anna Homenya via Festival Komm, Bach on YouTube.

And below is a score performance via this YouTube.

The post Filippos Manoloudis Performs Les Grâces by Jacques Duphly first appeared on This is Classical Guitar.

Theory Lesson No.6a: Pitch, Octave, Register, Octave Designation, and Pitch Class. In this lesson we have a more in depth discussion on pitch, the specific register of pitches and how we name them. This is an important lesson that will set us up for the next lesson on the sounding pitch of the guitar. Here’s the YouTube link if you want to watch it there.

Pitch, Frequency, Hertz

We’ve already had a basic conversation on pitch but here’s some more context on the term. 

Pitch is how high or low a sound is, determined by the frequency of its vibrations. This can occur from any vibrating body whether it’s a violin, a human voice, a clarinet reed, or a plucked guitar string. Frequency is measured in hertz (Hz), or vibrations per second.

When frequency increases the pitch rises (higher pitch); when frequency decreases the pitch falls (lower pitch).

On a guitar, shortening a vibrating string raises its frequency, which is why pressing a fret produces a higher pitch compared to the open string.

Examples

• 110 Hz = 110 vibrations per second → relatively low pitch
• 440 Hz = 440 vibrations per second → the A above middle C
• 880 Hz = 880 vibrations per second → an A one octave higher

Keep in mind we are not having a discussion today on tuning or historical tuning in regards to what Hz represents what pitch, so if you are knowledgable in this area you’ll have to wait for a future lesson.

Octaves

An octave is the musical interval between one pitch and another with twice or half its frequency. The two pitches sound closely related and are given the same note name.

For example, “A” vibrating at 440 Hz and the A one octave higher vibrating at 880 Hz.

Octave Designation and Register

Here’s a diagram of Octave Designations – This allows us to pinpoint which octave is in use when referring to a pitch. Middle C is referred to as C4. I know, it’s an explosive concept.

We refer to a pitch placement as its register. The register of the note tells us which “C” we are referring to, a high C or a low C.

For example, Middle C is referred to as C4, the octave below is referred to as C3. If I indicate C4, musicians will know which C I’m referring to.

The numbering system describes absolute pitch/register across instruments in a universal way. It lets us name the specific pitch we are talking about in terms of an exact register.

This will be important when discussing what pitch is used in a clef and for our next lesson on the actual sounding pitch of the guitar (hint, it’s one octave lower than written).

Here is the octave designation sections in notation and keyboard.

Pitch Class

We don’t always need to be specific about register so pitch class is a group of all pitches that share the same note name, regardless of octave.

For example, every C—low, middle, or high—belongs to the pitch class “C”.

Pitch class allows us to identify notes by name regardless of octave, making it easier to discuss scales, chords, and harmony without specifying which octave we are using. 

Keep it simple

Todays lesson helps us understand the use of the word pitch. It distinguishes between very specific pitches in a register or generalized naming of a pitch.

Octave Designation = Specific register of a note
Pitch Class = Generalized note name

The only thing you really need to know for now is the term Octave. The rest is for context so when I give you more complex lessons you’ll know what I’m discussing. 

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JoLuck E04 Dolce Small Scale Classical Guitar Review – It was a joy to test out the JoLuck E04 Dolce which is an affordable small scale lattice braced classical guitar available in four sizes. This is the next model up from the E02 Amoroso which I previously reviewed. The Dolce I reviewed was a 615mm scale length.

Quick Summary: The JoLuck E04 Dolce is a nice step up from the E02 Amoroso and exceeds my exceptions of value at this price. The solid cedar top, Indian rosewood back and sides, and lattice bracing produce an impressive amount of sound with a full and warm tone. Amazing to have the four different sizes to ensuring you get the perfect sized instrument for your unique needs. The balance across the strings is defined but with a warmer fullness and more sustain which does reduce definition but I consider it well worth the exchange. The trebles have a nice sustain and response to touch that is also rare in this class of guitars. Highly recommended at this price point.

Learn More or Buy

• Visit JoLuck Guitars to buy or learn more
• See their dealer page to find a guitar near you

Additional Links

• My classical guitar review page
• Frano Cavallone – 10 Studies via Les Productions d’Oz
• The Carulli Piece is from my Easy Volume 2
• Here’s my YouTube review link.
• My review of the E02 Amoroso

Review

A Small Scale Guitar – An important factor about this guitar is the different available scale lengths. The modern day adult guitar standard is 650mm measured from nut to saddle. These guitars come in such a variety that children to adults looking from a smaller size can find the perfect fit. The Dolce comes in scale lengths: 520mm, 580mm, 615mm, and 630mm. For context, my usual small scale guitar you see in my videos is a 630mm. The guitar in the review was the 615mm.

Volume, Playability, Dynamic Range – This guitar design is producing a nice loud sound at this price. The lattice bracing and cedar top excels at this aspect. Minimal effort in the right hand gets a very good amount of volume from the guitar. Top marks for volume and playability. The dynamic range is also excellent compared to overbuilt guitar in this category. I was able to get some very soft levels and increase them significantly.

Sound and Tone – The tone is good across the whole guitar. Compared to the mahogany on the E02 Amoroso, this guitar is fuller, has a wider dynamic range, and is more resonant and refined. The definition between the strings is still defined but a bit less focused and clear likely due to the additional warmth and sustain. This is probably a good thing for most students as it will be a forgiving guitar in terms of tone production. The warmth and resonance of this guitar is well worth the slight price increase over of the Amoroso. The lattice bracing does have a sound slightly different than a traditional fan brace (maybe a bit less focused) but with increased fullness and sustain it’s worth the difference. Lots of factory guitar suffer from overbuilt thick tops in this price range, I’d say the Dolce design is outperforming most brands.

Workmanship and finishing – The workmanship is clean and the finishing all looked great. Glad to see the 12 hole bridge which is a joy both in terms of usability and aesthetics.

Concerns and Critiques – I don’t have any concerns or criticisms as the quality and sound go above and beyond the price. I could do without the decorative inlays on the ends of the bridge but that is just a personal preference, lots of people have mentioned they like them.

Value – The guitar exceeds my exceptions for a small scale instrument in this price range. At $649 USD (Aug 2026, check often for changes), I can’t really imagine a better value for a classical guitar. If you are debating between the Amoroso and the Dolce, I highly recommend spending the bit extra for the Dolce as you’ll get a more mature instrument capable of a wider range of sound.

Specifications

• Soundboard: Solid Canadian Cedar
• Back and Sides: Indian Rosewood
• Neck: Okoume
• Fingerboard: Rosewood
• Sizes: 32″, 36″, 37″, 38.5″
• Scale Lengths: 520mm, 580mm, 615mm, 630mm
• Bracing: Lattice
• Truss rod: Yes
• Bridge: 12 Hole Bridge
• Finish: High Gloss PU
• Packaging: JoLuck Deluxe Gigbag
• Price: $649 USD (Aug 2026, check often for changes)
• More Measurements:

JoLuck E02 Amoroso Photos

Feel free to ask question in the comment section below.

If you own a JoLuck please leave a short review in the comment section to help others.

The post JoLuck E04 Dolce Classical Guitar Review first appeared on This is Classical Guitar.

Question: What Tension Strings Should I Use on Classical Guitar?

Answer Summary: Beginners should start with a warm nylon string in medium to medium-hard tension depending on the brand whereas advanced players will want a harder tension nylon or carbon string that projects well in the concert hall. But there are many variables involved in choosing strings and tension. The guitar itself, the player, nail shape, desire for warmth, fullness, brightness, clarity, projection all play a factor. In the article below I’ll offer some generalizations to get you started but much of it will be personal preference.

What is Quality?

Every string has good qualities and can be perfect for your unique guitar, nails, and playing style or repertoire. The idea of a string being ‘musical’ or ‘best’ is a confusing concept as it depends on what musical quality you are trying to highlight. One string might be warm and have a smooth sound, whereas another string might be brighter, project into a hall well and be nicely balanced. Also, certain guitars respond differently to various strings and the performance or practice space might demand compensation by going brighter or warmer to get the acoustic balance you are after.

A Very Generalized Guide to String Types

This is a generalization and not always true. Most early level students, on average, should generally go with a nylon string set as they are warm and forgiving. However, all the types of strings can be excellent depending on the variables.

• Nylon Strings – Tend to be warm, round, full bodied, smooth, and forgiving (not brittle). They can sometimes be muddy and lack clarity, balance, and intonation compared to carbon strings.
• Composite Materials (titanium, blends, etc) – Somewhere between nylon and carbon. These often try to correct for the deficiencies of nylon and carbon strings. They can be nicely balanced but sometimes they lack the best qualities of either nylon and carbon so haven’t seemed to catch on as much.
• Carbon Strings – Brighter, clearer, balanced, stiffer, better intonation and projection. These can be amazing but with the wrong nails or guitar they can be harsh. They are also sometimes stiffer and harder on the hands depending on the player.
• Combo Sets – Many companies are now mixing the above strings in sets to gain balance. I really like the 3rd string being a carbon to clean it up.

Tension and String Diameter

It is most common that higher tension strings will generally have a thicker diameter and therefore sound a bit rounder, full, and warm but there are a many factors here so it’s not always true. A hard tension string can choke some guitars so you might find you get a more pleasant tone and sustain from a medium tension string.

Hand Troubles and Fatigue?

Although I consider hand troubles and fatigue to stem more from positioning and technique training, string tension does account for something. If you are prone to hand problems I’d recommend against hard tension strings as well as carbon and composite strings. I’d recommend a medium tension nylon string until you have either recovered or found the source of your tension issues.

Every String is Different, Experimentation is the Key

Every player and guitar is different and so is every string brand and string material. There is no way to exactly say which type of string, material, and tension will be right for you. Therefore, I’d recommend you start with a clear nylon string in medium or medium-hard tension and adjust and experiment from there.

Recommendations

• If I had to recommend a set for most students
• Augustine Strings – Imperial – Really nice all-around string for traditional repertoire. Warm and forgiving in tone but nicely balanced with some clear projection. A great string for the average player looking for a mix of traditional sound with a bit more clarity and balance.
• D’Addario Pro Arte (either normal or hard tension). These are perfectly fine nylon strings, very affordable, and forgiving in warm tone. Sometimes sound a touch plasticy but not always. I’d recommend hard tension for most students but not the extra-hard.

• Bradford is currently using (for more advanced players)
• Augustine Strings – Regal (Great traditional sound) – Really nice all-around string for traditional repertoire. I sometimes replace the 3rd string with a normal tension Savarez Alliance (carbon) if I want more clarity.
• I also sometimes play the Regal Reds which have hard tension trebles and normal tension basses. I sometimes replace the 3rd string with a normal tension Savarez Alliance (carbon) if I want more clarity.
• Savarez Corum Alliance – I sometimes use these for chamber music or if I need more clarity in a work. They are carbon strings, with increased brightness/projection. Might be too intense, bright, and stiff for some guitars and players. The high E string can be particularly bright. Brings the guitar to life though. I do not recommend these for students from beginner to grade 5.

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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Juan Carlos Laguna performs Il Libro dei cinque anelli 五輪書 (Tribute to Miyamoto Musashi) by Marco De Biasi with Taro Kobayashi (Wa Daiko) and the Nomad Ensemble conducted by Norio Sato. This comes via De Biasi’s YouTube channel. An absolutely wonderful new work and brilliant performance. Here’s what De Biasi mentions about the piece:

The music uses the text of The Book of Five Rings (五輪書, Gorin-no-sho) by Miyamoto Musashi (1584–1645) as a pretext to develop a dialogue between myself (as a composer and a human being) and Heihō (兵法), a Japanese term meaning ‘strategy’, ‘tactics’ or ‘the art of war’.

From an architectural perspective, the structure of the text determines that of the music. The musical score consists of two movements, each divided into three parts. Each part corresponds to a chapter of the book: Prologue, Book of Earth and Book of Water belong to the First movement, whilst Book of Fire, Book of Air and Book of Void belong to the Second. Read much more at the YouTube description.

• World Premiere: Tokyo Opera City Hall – July, 13th, 2026
• The piece was commisioned by Satoshi Ikegami Fondation.
• Dedicated to Juan Carlos Laguna

• Nomad Ensemble
• Norio Sato – Conductor
• Dogen Kinowaki: Flute
• Hideo Kikuchi: Clarinet
• Chiyoko Noguchi: 1st Violin
• Wakako Hanada: 2dn Violin
• Fumiko Kai: Viola
• Aki Kitajima: Cello
• Yoji Sato: Double Bass
• Ken’ichi Nakagawa: Piano
• Noriko Miyamoto: Percussion

• Movements
• Prologo 00:00
• Terra 00:03:31
• Acqua 00:06:11
• Fuoco 00:12:38
• Aria 00:15:08
• Vuoto 00:17:13

The post Il Libro dei cinque anelli by Marco De Biasi  first appeared on This is Classical Guitar.

Eliot Fisk performs his arrangement of Aldo by Luciano Berio (1925-2003). Aldo is Duet No.24 from his collection of 34 Duetti per due violini (1979-83), dedicated to the Italian violist Aldo Bennici and based on a real Sicilian folk song. This comes via the Omni Foundation series and their Youtube channel. Beautifully expressive performance by Fisk who is always interesting to listen to. Every time I hear Fisk I need to listen a few times to wrap my head around what he’s doing, always a unique touch on the guitar.

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My friend Roman here in Victoria, BC, Canada created a cool app for musicians: Say Metronome is a metronome and tuner app built around hands-free voice control. The idea is simple: keep the musician playing while the app handles all the adjustments. You can adjust the tempo, change a time signature, or setup a gradual speed increase without breaking connection with your instrument. Here’s a promo word from the app:

Say Metronome is a one-of-a-kind AI voice-controlled metronome: start, stop, change tempo, build sequences, choose your command language, and let the tuner appear automatically when the mic hears a steady note and the click is stopped.

Quick Summary: Say Metronome is an innovative app with hands-free control of a vast array of flexible options. Whether you are shouting out tempo changes, setting up more complex changes from measure to measure, or noticing that your out of tune, Say Metronome is there to help.

Get the free version of the app via Say Metronome , Android, Apple iOS with paid extra options also available.

Options at a Glance

• Voice-controlled metronome commands
• Tempo sequences and tempo ramps
• Manual controls for conventional use
• Built-in chromatic tuner
• Support for common meters, accented beats, no-accent clicks, and layered metronomes
• Beat feedback through sound, screen flash, and haptics
• Recent setups saved for quick recall
• English plus 29 additional languages
• Available for iPhone and Android
• Free download with in-app purchases available

Metronome Options

Say Metronome offers more than a basic fixed-tempo click. Its options include:

• Set a specific tempo.
• Start and stop the beat.
• Increase or decrease tempo by voice.
• Switch time signatures.
• Use common meters.
• Select no-accent clicks.
• Use layered metronomes.
• Choose beat feedback through sound, flash, or haptic vibration.
• Save recent metronome settings for quick reuse.

Tempo Sequences and Gradual Changes

The app allows you to create sequences involving multiple tempos, durations, and measure counts. It also offers tempo ramps based on either time (minutes) or by number of measures.

Built-In Tuner

It also includes a tuner that displays the detected note and indicates whether the pitch is sharp, flat, or in tune. It appears automatically when the microphone is active, the metronome is stopped, and the app hears a sustained note.

Voice Command Accuracy

I found basic entries of tempos and time signatures worked very well. I just say “metronome” and state the tempo and time signature and it begins with good accuracy. More complex sequences are a bit hit and miss depending on how you word it but with further use you do slowly learn how to phrase the sentence to make it clear to the AI.

Final Thoughts

Say Metronome has a clear musical purpose: reduce the little interruptions that break concentration during practice. For classical guitarists, the strongest attraction is likely the combination of hands-free adjustment and structured tempo practice.

Get the free version of the app via Say Metronome , Android, Apple iOS with paid extra options also available.

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This is Classical Guitar presents guest artist Simon Farintosh performing his arrangements of Preludes by Alexander Scriabin (1872-1915). This is a YouTube collaboration so go subscribe to Farintosh’s YouTube channel now. Simon Farintosh is a classical guitarist from Victoria, BC, Canada. He teaches at the University of Victoria and operates the ReVamp Guitar Academy. Performed on Martin Blackwell classical guitar.

Amazing arrangements and performances by Farintosh filled with a variety of textures and colourful soundscapes. It was fun recording him because nearly every take was perfect which made it hard to choose which one to use! It was also a particular joy hearing Simon play because not only is he a world class professional guitarist, he’s also a former student of mine from long ago. You can read all about Simon at his bio page. Big congrats to Simon on all his success.

★ Subscribe to Simon on YouTube

➔ Find Simon’s Sheet Music Here (including these arrangements)

Repertoire

• 00:00 Prelude in A-flat Major, Op.11, No.17
• 1:04 Prelude in G Major, Op.13, No.3
• 2:43 Prelude in D Major, Op. 39, No. 2
• 4:30 Prelude in F-Sharp Minor, Op.31, No.2

The post Simon Farintosh Performs Scriabin Preludes first appeared on This is Classical Guitar.

Performance psychologist Dr. Noa Kageyama from the Bulletproof Musician examines a study where adding variation to a motor skill test improved results to as much as double in participants. I completely agree that when practicing, adding variations to the passage or technical exercise highly improves learning rates. The original full article is here. But in short, back in 2016 aJohns Hopkins study (Wymbs et al.), 86 participants, split into three groups, were trained in a “sequential visuomotor isometric pinch task”, a motor skill test. Adding variation highly improved the rate of learning.

Be sure to check out more of his articles and videos. Dr. Noa Kageyama is a performance psychologist, musician, and educator best known for helping musicians overcome performance anxiety and develop effective practice habits. A graduate of the Juilliard School and a former violinist, he is the creator of The Bulletproof Musician, where he shares research-based strategies on performance, motivation, and peak achievement for musicians of all levels.

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Lutenist Elizabeth Pallett has been performing works by John Dowland (1563-1626) every 2 weeks throughout 2026 to celebrate 400 years of his life and works. This is part of her playlist John Dowland 400th Anniversary Video Collection via Pallett’s YouTube (go subscribe). Below is the most recent video but be sure to subscribe to hear them all.

By the way, she also has a book out for lute or guitar players to make the music accessible. Written in French tablature, it’s called You Can Play Dowland! – 14 Pieces Arranged for the Lute. Below is an introductory video and you can find her book at her Kofi page.

The post Elizabeth Pallett –  John Dowland 400th Anniversary Video Collection first appeared on This is Classical Guitar.

Norwegian classical guitarist Kristina Vårlid performs Balada para Martín Fierro by Argentine composer Ariel Ramírez (1921-2010). This comes via Siccas Guitars and their YouTube channel (go subscribe). Beautiful performance by Varlid with a very expressive touch, flowing phrases, and a resonant and plaintive pacing. Originally written as the soundtrack for a film adaptation of a famous Argentine epic poem, it captures the melancholic and heroic spirit of the country’s legendary gauchos (cowboys). Martín Fierro, a famous 1870s narrative poem by José Hernández tells the story of a poor, free-spirited gaucho who is forced into the military, suffers great hardships, and ultimately lives as an outlaw. Ramírez—who is celebrated worldwide for his iconic choral work Misa Criolla—used his deep knowledge of traditional Argentine folk rhythms to translate this tragic and nostalgic tale into sweeping, emotional music.

Recommended Intermediate Music

Maria Luisa (Mazurka), Op.19 by Julio Sagreras (1879-1942) – This is a beautiful work also by an Argentinian composer and a similar vibe and melodic feel. This is around the grade 5 level making it very accessible for the intermediate classical guitarist. This is from my Grade 5 book with sheet music, video performance, and video lesson. Go take a listen.

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Question: How can I play cleanly without looking at the left hand (fretting hand) on classical guitar?

Answer Summary: A combination of technique practice and muscle memory, string crossing and shift exercises, and some dedicated practice looking away eventually results in the ability to play well and clean without looking at the left hand on classical guitar. In this lesson we explore the elements involved as well as specific exercises to practice.

What is required?

Longterm technique training resulting in muscle memory – Having a well rounded technique routine is key to building muscle memory and the ability to look away from the left hand. The better you know and memorize your routine the more you can solidify the muscle memory. You want to look at your hand at first and have a high level of accuracy before looking away. Then, once your success rate is high you can start experimenting with looking away from the left hand.

Dedicated practice looking away – For 5 minutes a day you can try dedicated practice looking away. I’d start with a position scale at first. Once you are comfortable with that you can add position scale that includes a shift. As mentioned above, look when learning it at first and have a high level of accuracy before looking away.

Problem solving – Everyone has strengths and weaknesses they need to work on, it’s a natural part of learning music. This includes techniques that are not as confident as we’d like. It is often the case that if a student can not accomplish a basic position shift without looking they might have a technique deficiency in shift technique itself. In this case, shifts should become a regular technique that gets work and daily practice before experimenting with looking away.

Exercises to Practice

In general, all technique exercises will help with muscle memory but a few specific types of exercise will help solidify the basics before more advanced situations.

Position Playing – Solid first position playing as well as position playing in a “one-finger-per-fret” position is needed as a first requirement of trusting the left hand. Being able to play in one 4-fret location without shifts is absolutely necessary.

Shifts – Shifts are often the point where looking away creates the opportunity for error. Practicing dedicated shift exercises will teach your left hand the distance between the frets and do it in an organized and systematic way.

String Crossings and Jumps – Additionally, jumping between string groups in static positions or including with shifts is needed to gain confidence.

Finger independence – I find finger independence exercises very beneficial to left hand awareness and stability overall which can very much affect accuracy. If a student is changing hand positions when they should be keeping a static position and letting the fingers do the work is a clear indication of instability.

Recommended Technique Book: Classical Guitar Technique: Essential Exercises, Scales, and Arpeggios (PDF or hardcopy). It’s a full technique book with 122 pages and video lessons for all the content making it great for students who want both a book full of exercises but also online video guidance for each exercise. It includes progressive exercises and tips as well as practice routines for different levels. The book guides students from grade 1 to advanced levels.

It’s Okay to Look Sometimes

It’s perfectly acceptable to look at your left hand providing it’s not too static (as in, you are twisting yur spine or neck for long periods) or something you can’t look away from. That said, sight reading is certainly a situation where looking away is not a possibility. The other situation is pieces that you know but don’t have memorized in which I recommend spot looking.

Spot Looking – On my scores that I don’t have memorized, I circle specific spots that need a visual aid. Most of the time this is a difficult shift to upper position or a tricky chord shape. In these cases I memorize the single moment or measure of music and look at my left hand briefly to accomplish the difficulty. Circling it on the score is useful because you don’t want to be disoriented when you look back at the score (as in, loosing your place).

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 without looking at the left hand on guitar? first appeared on This is Classical Guitar.

Chorale: Ach Gott und Herr BWV 255 by by Johann Sebastian Bach (1685-1750) presented by the amazing Netherlands Bach Society and their YouTube from their project All of Bach. Beautiful performance and a lovely and natural theorbo accompaniment setting. Here’s their description:

Bach incorporated chorales into his works in every way possible, often geared to a very specific text or context. The way he used them could differ widely, as you can hear if you put Ach Gott und Herr, BWV 255 – recorded here for All of Bach by the Netherlands Bach Society – alongside chorale no. 3 from Ich elender Mensch, BWV 48. Although the chorales have the same melody, the effect is totally different in each. This difference could be explained by the context of the two chorales, but we know next to nothing about the context of BWV 255. One of the few sources we have is a collection from 1765, by Bach’s son Carl Philipp Emmanuel. The collection includes dozens of chorales published without texts, which were clearly intended as study material for music students. They learned harmony and voice leading from Bach’s chorales.

Netherlands Bach Society

• Mónica Monteiro, soprano
• Bernadett Nagy, alto
• Immo Schröder, tenor
• Bram Trouwborst, bass
• David Mackor, theorbo

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Troy Serson and Bradford Werner look at six metal-oriented exercises and riffs that translate well to classical guitar technique. Exercises and riffs from John Petrucci – August Burns Red, Metallica, Steve Vai, Megadeth, Dream Theater, and Primus.

Troy Serson is a Canadian guitarist based in Victoria, BC, Canada. Check his awesome youtube channel and website where he posts videos on technique, music theory, and fingerboard knowledge:

★ Subscribe to Troy Serson on YouTube.

★ Visit Troy’s Website for some free helpful downloads and links.

★ Troy on Instagram.

Video Chapters

• 00:00 Introduction
• 1:17 John Petrucci – August Burns Red
• 4:16 Metallica – Master of Puppets
• 8:46 Steve Vai
• 11:44 Megadeth – Angry Again
• 15:58 Dream Theater – In the Presence of Enemies
• 21:30 Primus – American Life
• 26:30 Final Words

The post Metal Exercises & Riffs for Classical Guitar with Troy Serson first appeared on This is Classical Guitar.

Argentinian classical guitarist Pablo Márquez performs the Ciaccona (Chaconne) from the Violin Partita No.2, BWV 1004 in D-Minor by Johann Sebastian Bach (1685-1750). This comes via his YouTube channel (go subscribe).

Spirited performance by Marquez on a historic Johann Anton Stauffer ca.1842 guitar. I keep seeing people play Bach and other early music on 19th century guitars and quite enjoy it. I think it’s the reduced sustain and more plucky sound equalizes the tone and attack making it more even and rhythmically focused like a lute or harpsichord. But it still retains many expressive qualities of guitar making it a possible in-between choice of instrument. This is the first time featuring Marquez, looking forward to hearing more.

Sheet Music Editions of Bach

If you enjoyed this performance maybe you’d like to check out my editions of Bach sheet music with videos.

• Suite in E Minor BWV 996 by Bach (Complete), Advanced
• Cello Suite No.2, BWV1008 by Bach (Complete), Early-Advanced
• Bouree from BWV 996 by Bach, Grade 6, Free
• Prelude in D minor, BWV 999 by Bach, Grade 7
• Prelude, Cello Suite BWV 1007 by Bach, Grade 7
• Prelude in E Major, Lute Suite BWV1006a – Advanced
• Air ‘On the G String’ BWV 1068 by Bach, Grade 4
• Bist du bei mir (Be thou with me) by Bach & Stölzel, Grade 6
• Jesu, Joy of Man’s Desiring BWV 147 by Bach, Grade 4
• Minuet in G, Anh.114 by Bach/Petzold, Grade 4
• Sheep May Safely Graze, BWV 208 by Bach, Grade 6
• Sinfonia (Arioso) from Cantata BWV 156 by Bach, Grade 5

The post Pablo Márquez Performs Bach Chaconne, BWV 1004 first appeared on This is Classical Guitar.

Asturias (Leyenda), No.5 from Suite Española, Op.47 by Isaac Albéniz (1860-1909). Performance, Lesson, and PDF Sheet Music 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 fairly advanced (Grade 10) but see the FAQ below.

I’ve based this arrangement mainly on the piano score and my own ideas but I mention in the score and the video lesson a few changes you can make to either follow my edition or choose popular ideas such the use of harmonics in the middle section. Here’s the YouTube Link if you want to watch it there.

My PDF Sheet Music Edition – Includes both notation edition and a separate tab edition in the same pdf.

• Asturias by Albeniz from Werner Guitar Editions – my dedicated sheet music store.

Isaac Albéniz was a Spanish pianist, composer, and conductor. He is one of the foremost Spanish composers of the Post-Romantic era. He is best known for his piano works based on Spanish folk music idioms. He actually never wrote guitar music but was certainly influenced by it which explains why Asturias on guitar actually works quite nicely (tremolo and repeated notes are difficult on keyboard).

FAQ

What grade level is Asturias?
Asturias (Leyenda) is generally considered an early to mid-advanced classical guitar work (around Grade 9 or 10). But it really depends on your desired tempo and refinement. It requires strong endurance in your barre technique, expressive phrasing, and control of various textures. There are a few awkward chord shapes but it’s fairly manageable. The reason it’s upper level has a lot to do with it’s larger scope and the high level we are used to hearing it played by pros. 90% of the work is quite accessible to intermediates but the other 10% is clearly advanced.

Is Asturias suitable for intermediate players?
Not really no. Although intermediate can enjoy learning sections of the work, in order to play the entire piece at tempo it is generally not good for a student’s development and can cause frustration. That said, if a student wishes to play sections of the work for enjoyment that is perfectly fine. Most students should first learn some other upper level works before tackling this one. You can works listed by grade on the main sheet music page.

Can I download Asturias as a PDF?
Yes. My video matches the pdf sheet music and includes a professionally edited PDF with notation and a separate TAB edition. You can purchase it here: Asturias by Albeniz from Werner Guitar Editions

Who composed Asturias and what’s it’s story?
Asturias (Leyenda) is one of the most famous works in the classical guitar repertoire. It was composed by Isaac Albéniz in 1892 as a piano prelude in the collection Chants d’Espagne. Although it is now known as Asturias (Leyenda), the title Asturias was added later by a publisher after Albéniz’s death and was later republished posthumously as Asturias (Leyenda) in Suite Española, Op. 47. Despite its name, the music is inspired by the flamenco traditions of Andalusia in southern Spain rather than the northern region of Asturias. The piece became a cornerstone of the classical guitar repertoire through early guitar transcriptions and due to its driving rhythms, dramatic contrasts, and lyrical middle section which have made it one of the most recognizable and frequently performed works for classical guitar.

Sheet Music SamplesThe post Asturias (Leyenda) by Albéniz for Guitar first appeared on This is Classical Guitar.

Greek classical guitarist Filippos Manoloudis performs Sonata II: Allegro Vivace by Eduardo López-Chavarri (1871-1970). This comes via Guitar Salon International and their YouTube channel (go subscribe). Great performance by Manoloudis with some incredibly even and rapid passages and rhythmic intensity.

Here’s a quote from the abstract of this paper titled Eduardo López-Chavarri Marco (1871-1970) obra guitarrística by Javier Somoza de Pablo at the Universidad Complutense de Madrid.

The guitar corpus of this composer, which consists of a good handful of works (some of them of the highest quality) was created almost entirely between 1922 and 1932 and is part –an outstanding part, in our opinion– of the new guitar repertoire of the Interwar Period that arose after the dazzling appearance of Manuel de Falla’s Homenaje (1920) in the music scene of the time. At that time a reissue of that nineteenth-century Parisian guitarromanie took place, with the particularity that the authors of the new repertoire, for the first time in history, were not guitarists. López–Chavarri, like other composers who barely knew the guitar and its distinctive features, tried to associate himself with some prominent players of the instrument. However, these guitarists, due to various circumstances, did not give fair diffusion to the works composed for them and in a few years all these compositions were almost completely forgotten.

The post Filippos Manoloudis Performs Sonata II: Allegro Vivace by López-Chavarri first appeared on This is Classical Guitar.

Cantilène Espagnole by José Ferrer (1835–1916). From No. 1 from Gerbe de Fleurs Quatre Pièces faciles pour Guitare Op. 41. 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 in the same pdf. The level is intermediate (Grade 4).

My PDF Sheet Music Edition (PDF Download)

• Buy Cantilène Espagnole from Werner Guitar Editions

José (Joseph) Ferrer (1835–1916) was a Spanish guitarist and composer. This is a relatively simple work but not without Spanish charm. It’s a good playing level firmly in the early to mid-intermediate level. Beginners can take out the thirds to make it easier but intermediates should be able to play them with a bit of practice.

Here’s the YouTube Lesson link if you want to watch it there.

Performances by Professional Guitarists

Also see this excellent performance from my edition by the great Matthew McAllister via his YouTube.

The post Cantilène Espagnole by José Ferrer first appeared on This is Classical Guitar.

Kristiina Watt (theorbo) and Sophia Prodanova (baroque violin) perform Sonata No.3, Op.5 by Arcangelo Corelli (1653 -1713). This comes via Kristiina Watt’s YouTube channel (go subscribe). Beautiful performance with excellent phrasing, rhythmic pulse, and pacing. Theorbo and violin is such a complimentary combination. Although this is not a recent video I’ve been researching lute and string works and was charmed by this sonata and performance.

Baroque Music Sheet Music

If you enjoyed this performance maybe you’d also like to check out my list of sheet music with videos for classical guitar in the Baroque Category at Werner Guitar Editions.

The post Kristiina Watt and Sophia Prodanova Perform Corelli on Theorbo and Baroque Violin first appeared on This is Classical Guitar.

This is Classical Guitar presents guest artist Misha Smirnov performing Prelude No.2, Op.3 by Sergei Rachmaninoff (1873–1943) on Classical Guitar. This is a YouTube collaboration so go subscribe to Smirnov’s YouTube channel.

Wonderful performance by Misha Smirnov with a unique blend of a big full sound, extroverted flourishes, as well as intimate moments of sustain and deep resonance. Misha Smirnov is a Canadian classical guitarist based in Victoria, BC, Canada. Big congrats and thanks to Misha on being the first guest solo artist on the channel!

Performed on a Martin Blackwell guitar.

Arrangement inspired by the performance by Edith Pageaud, you can see her video here. This video has not been monetized and no sheet music arrangement has been made.

The post Misha Smirnov Performs Rachmaninoff Prelude No.2, Op.3 first appeared on This is Classical Guitar.