This is Classical Guitar

Klaudyna Żołnierek (theorbo) performs Sarabande in G minor by Robert de Visée from the Vaudry de Saizenay Manuscript. This comes via Żołnierek’s YouTube channel. Wonderful performance by Żołnierek with such a beautiful rhythmic delivery and un-rushed forward momentum. I also love the setting, artwork, room and chair.

A review of Guitar Nails Kit, removable fake nails for classical guitar that use double-sided tape.

I broke my thumb nail off yesterday and 10 minutes later I was back to playing with a Guitar Nails Kit removable fake nail that use two-sided tape. I ordered these just in case I ever had a nail emergency. Please note, these are the first fake nails I’ve tried for classical guitar as I’ve always been apprehensive about glue-on nails as they can damage your real nail. However, this two-sided tape solution saved my practice day and, theoretically, doesn’t damage your real nail.

Application – I cut the pre-formed fake nail with scissors to a very approximate and long shape. Then you simply place the double-sided tape on the nail and peel off the top paper, press the synthetic nail on and you’re done. File into shape and polish as you would a normal nail. I recommend pre-cutting a few so if you had to do it in a concert you’d only need to go back stage for 5 minutes.

How Strong is the Tape? I haven’t dug into the string outrageously hard but I certainly played forte. I keep expecting it to just fly off but so far it is staying on really well. I use a fairly short thumbnail so that might be helping as it would have less leverage at the tip.

How Long Does it Last? I’ve had it on for 3 days currently. I’ve been practicing, washing my hands, showering, etc. It’s showing a bit of release at the edges but is still firmly on. I will update this as time goes on. A colleague mentioned they change them every 3-4 days but they are playing a ton and concertizing so you’d want to play it on the safe side.

How to Remove the Nails – The instructions say to remove the nail with sanitizer gel. I will post an update on this after I remove it.

Fingernails – I haven’t tried the fingers yet but I will update this post after trying them out.

Thumbnail – I have a freakishly flat and wide thumbnail so I did have to cut the sides of the fake nail off where they curve and then flatten it further with a hot spoon. But it worked great (see pic below).

More photos and video coming soon.

Rupert Boyd performs Estudo N.1: Harpa Eolia by Brazilian guitarist and composer Chrystian Dozza. This comes via Guitar Salon International and their fantastic YouTube channel. Beautiful playing by Boyd with fluid arpeggios and flowing phrasing. I don’t really know Dozza’s material but I this appears to be a direct reference, or actually, a reworking of Etude No.1 by Heitor Villa-Lobos (1887-1959). It’s kind of delightful knowing the work so well overall but not knowing this version.

Marco De Biasi performs Scribbles Etude by Simone Fontanelli (b.1961) which is a new music project in collaboration with Roma Expo Guitars. This comes via Roma Expo Guitar’s YouTube channel. I like the highly expressive contrasts in this work and De Biasi’s concise delivery. Score available here.

Here’s the YouTube description of the work by the composer.

All my works share a constant feature: the musical ‘gesture’, which is also at the origin of this piece. This gesture may appear in several ways. It can be brief and concise as at the beginning of this piece, and then can become more and more complex and articulated. In all cases musical gesture creates situations within a process of transformation. As in a scene, the guitar is here like a character acting through this or that gesture, a protagonist on the stage evolving throughout the piece in a sort of rhapsodic, narrative form. The character of ‘narration’ is a basic element. Scribbles Etude, for instance, goes through different continuous moments of a story where several situations occur and several emotions are involved. None of them goes lost. At the end, in a sort of short Coda, the guitar takes us into a dreamy and melancholic atmosphere. – Simone Fontanelli

6 Common Technique Problems Solved with a Better Classical Guitar Position. In this lesson I cover six technique topics that are helped by a better guitar position including: 1. Wrist and Posture Ergonomics. 2. Horizontal Stretch or Reach. 3. Vertical Stretch. 4. Barre Chords (using gravity). 5. String Clearance. 6. Perceived Scale Length (guitar size). Here’s the YouTube Link if you want to watch it there.

The main takeaway from this lesson is that finding your guitar position is a life-long study that requires constant refinement and adjustments as you progress and as you age. A series of small adjustments can really affect your technique on the instrument and make a huge difference. After all, many errors on the guitar are caused by small movements that require millimetre changes, therefore, small adjustments to your guitar position, not just your hands, can be the difference between success and hardship. Hope this helps, happy practicing.

Video Times and Topics

• 00:00 Intro
• 3:03 Wrist and Posture Ergonomics
• 5:24 Horizontal Stretch or Reach
• 6:56 Vertical Stretch
• 8:31 Barre Chords (using gravity)
• 10:17 String Clearance
• 13:56 Perceived Scale Length (guitar size)
• 17:20 Tiny Adjustments Make Huge Changes
• 18:42 Conclusion

My Full Lesson on Guitar Position

• Classical Guitar Position (How to Sit and Hold the Guitar)

My Technique Book with Routines and Lots of Exercises

• My Technique Book with Routines for Various Levels

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What I Saw in the Water
21st Century Works for Guitar Duo
ChromaDuo with Rob MacDonald Tracy Anne Smith
Naxos Records, 2024

Listen, Stream, Buy: What I Saw in the Water by ChromaDuo

Learn more about the album via Naxos

Wonderful to hear this new release from ChromaDuo who always feature excellent repertoire and beautiful performances. This album includes four new compositions written for ChromaDuo by Leo Brouwer, Sergio Assad, Dusan Bogdanovic and Dale Kavanagh. Also on the album is Simone Iannarelli’s Siete pinturas de Frida Kahlo. I particularly enjoyed the playful new work, The Circle Game (after Margaret Atwood) by Brouwer where the duo showcases their experience and ensemble skills in a tightly knit and intricate texture along with contrasting expressive outburst and murmurs. Read more about the album here.

What I Saw in the Water by Chromaduo features an exciting mix of new music both compositionally interesting and highly enjoyable to all audiences. Amazing ensemble skills and beautiful musicality are equally matched by a pristine recording sound and tonal palette. Fantastic music and thoughtful performances!

Video via ChromaDuo’s YouTube

Naxos Description: ChromaDuo, one of the world’s finest guitar duos, have greatly expanded the repertoire through friendships with leading composers. The five works featured on this album, four of which were written specifically for ChromaDuo, are all composed by renowned classical guitarists. Simone Iannarelli contributes a promenade to seven iconic pictures by the artist Frida Kahlo, whereas the writer Margaret Atwood offers the creative spur to Leo Brouwer. Dušan Bogdanović has created a stylistic hybrid in his Sonata No. 2, Dale Kavanagh has fashioned a marine ghost story, and Sérgio Assad fuses Brazilian and French elements in his moving tribute to Roland Dyens.

Repertoire / Track List

• Siete pinturas de Frida Kahlo by Simone Iannarelli
  • No. 1. Lo que vi en el agua (What I Saw in the Water)
  • No. 2. Unos cuantos piquetitos (A Few Small Nips)
  • No. 3. Las dos Fridas (The Two Fridas)
  • No. 4. Autoretrato, “El Marco” (Self-Portrait, “The Frame”)
  • No. 5. El sueño (The Dream)
  • No. 6. Mi nacimiento (My Birth)
  • No. 7. El abrazo de amor de el universo (The Love Embrace of the Universe)
• The Circle Game (after Margaret Atwood) by Leo Brouwer
• Sonata No. 2 for 2 Guitars by Dušan Bogdanović
  • I. Allegro
  • II. Andante
  • III. Moderato
  • IV. Allegro molto
• The Ghost of Peggy’s Cove, Op. 14 by Dale Kavanagh
• Dyens en trois temps by Sérgio Assad
  • I. Roland au Nord
  • II. La Chanson et Roland
  • III. Roland au Sud

Iliana Matos performs A Solas by Juan Erena (b.1970). This comes via her YouTube channel and filmed in Cuarto Real de Santo Domingo, Granada, Spain, in collaboration with ‪European Guitar Foundation. Beautiful performance by Matos with a wonderfully clear sound and flowing musical phrasing.

This work comes from her new album A Solas. As she mentions: “This album features the incredible work of 8 amazing composers who beautifully narrate my journey through a traumatic period during the lockdown and the resilience I found to overcome one of the most challenging times in my life. Creating this album has been vital to my healing process, allowing me to voice my experiences.”

Juan Erena discusses the work in the liner notes: “A Solas is a piece that reflects deep introspection inspired by Iliana’s dramatic experience. To evoke this state of mind, I drew on elements of Andalusian music, particularly the flamenco tarantas, whose melodies are infused with both suffering and hope. The piece shifts from an ethereal introduction to intense, emotional passages, symbolizing memories and acceptance.”

Matos currently teaches at the University of Lethbridge in Alberta, Canada.

First Dynamics and Etude No.3 (Sound Picture) from Method Book Volume 1 for Classical Guitar. This lesson in from my free pdf Classical Guitar Method Book Volume 1 and is the first introduction to playing dynamics on the classical guitar. I also cover two exercises for dynamics and Etude No.3 (Sound Picture) which has dynamics as well as being the first arpeggio piece with left hand notes. The dynamics I cover are piano (soft), mezzo-forte (medium loud), and forte (loud) as well as crescendo and decrescendo. Here’s the YouTube link if you want to watch it there.

Video Times and Topics

• 00:00 Intro
• 0:42 Dynamics Intro
• 1:30 Conceptualizing Dynamics
• 3:06 Five Dynamic Markings
• 4:17 Two Exercises for Dynamics
• 7:20 Written vs Unwritten Dynamics
• 8:45 Etude No.3 (Sound Picture)

This video was performed on a Douglass Scott classical guitar with Augustine Regal (Red) strings and a Le Support guitar rest. See all my gear here.

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