This is Classical Guitar

Question: How do I play through a simple mistake in music? For example, I have a habit of when I play a wrong note, I go back and correct it. It may not be a difficult passage, just a simple mistake. Am I just too much of a perfectionist?

Answer Summary: This is a very common issue for musicians and requires a restructuring of your priorities when playing and practicing music. If a simple note mistake is causing you to break rhythm and go back, you are emphasizing the notes as the highest priority and focus. Instead, you need to restructure your priorities and place rhythm, meter, and directional phrasing as the top priority. This is important for both yourself but also your audience and listeners.

Cautionary Note: This advice is for when you make a small random mistake. It is not for a mistake that is happening in the same spot every time which needs to be addressed. Always make sure you are playing music that is at a level and tempo that is appropriate to your skill. Also ensure you are taking enough breaks to be maintaining high levels of concentration when practicing.

Lets explore the ideas in more detail and also cover some activities you can do to re-prioritize the elements in your playing.

Rhythm and Meter as a Priority

In the majority of the music we play, rhythm and meter should be the higher priority musical element you are focused on. All of my favourite performers are on the ones who feel the rhythm and land on the beat regardless if the notes are correct. A break in rhythm or meter is far more noticeable in a performance than a wrong note because it breaks the phrasing, direction, and meter of the work. Whether you are playing in a group or solo for a listener, you are playing in an ensemble where everyone is feeling the beat. The listener and you are connected to the beat and you both want it intact.

Practical Tips:

• Play in an ensemble – Playing with others is the best way to build rhythm as a priority. When you play in an ensemble you have to continue on-beat since everyone else will continue playing. This take time to get used to. Once you get used to that, you can try playing your solo music imagining that you in an ensemble. In a way, when you play for others, the audience is your ensemble since they are feeling the beat with you.
• Improvising – Learning to improvise to a beat, metronome, or with a jam partner is another great way to prioritize rhythm. You can do this by simply noodling melodic lines with a simple C major scale. If you play a wrong note, no problem, just slide it up a fret for a jazzy sound but keep the beat.
• Tap your foot while playing – If your body is feeling the beat you’ll have a better chance at keeping the beat going even if you play wrong notes.

Musical Phrasing Instead of Note-to-Note Accuracy

Once you’ve started thinking about rhythm and meter as a priority you can start thinking much more about directional phrasing and destination points. Music is very similar to language, notes are grouped together into words and paragraphs. A musical phrase might have 20 notes in it which means that individual notes are less important than the phrase as a whole. Once you realize this you can start deciding your destination points which will give you a goal to play toward.

Practical Tips:

• Mark your phrase destinations to play up to– Decide where your musical destinations are in the piece. If you have a singable line it is usually where you would take a breath. You can mark small phrases or larger ones that are more definitive. But it doesn’t matter too much, even mid-beginners can hear how small musical ideas are formed. Once you have a destination point marked in the score (or by memory), practice playing up to that destination point without breaking rhythm if you make a mistake. Keep it small so it’s an isolated experience you can concentrate on.
• Examine the reason for your mistake after playing the phrase to the destination. Make it clear to your brain and hands when it’s okay to stop and examine and when it’s not.

Example of marking the phrasing and destination points in Sor’s Op.60, No.7. Start Small and Make it a Habit

You’ll want the above to become the normal way you practice and play. But this will take time to develop. Start by marking your phrasing or destination points and practice in small isolated chunks. Maybe you will only be able to do this for 5 minutes of your 45min practice session. As it becomes more of a habit you can increase it to 10 minutes and so on until it’s integrated into your playing.

At first this will require concentration to accomplish but later it will become a natural habit.

Questions & Support

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Dowland’s Foundry with Sami Brown on lute perform It was a time when silly bees could speak, No. 18 from the Third Book of Songs by John Dowland (1563-1626). This comes via The Lute Society on their YouTube in preparation for the Dowland 400 Festival. Wonderful performance and I love seeing the authentic setting of lute accompaniment in the centre, surrounded by singers at the table.

Dowland composed the music but the lyrics are attributed to Robert Devereux, 2nd Earl of Essex. The “silly bee” carries the meaning of ‘simple’ to describe the life of a courtier. 

• The “Silly Bee”: Represents Essex himself, a loyal servant who brought “wax and honey to the hive” but did not “thrive”.
• The King/Queen of Bees: Symbolizes Queen Elizabeth I.
• The Rival Insects: References to “the lazy drone,” “the wasp,” and “the butterfly” are likely swipes at other courtiers.
• The Moral: The song ends with a cold rejection from the monarch: “Peace, peevish bee, / Thou’rt bound to serve the time, the time not thee”. In other words, subjects exist for the state, not the other way around.

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Canadian classical guitarist Marc-Etienne Leclerc performs Grand Caprice, Op.60 by Luigi Legnani (1790-1877). This comes via his YouTube channel (go subscribe). Wonderful performance by Leclerc of this large rhapsodic work that includes…well, everything really. Leclerc released a number of great videos recently, some of which are in connection to his album release which you can buy on his bandcamp or watch on this YouTube playlist.

As he mentions in his description:

Most guitarists are familiar with the 36 Caprices, Op. 20 by Luigi Legnani (1790-1877), but only a few know about the existence of that Great Caprice! This work is very avant-garde for his time, modulating and changing keys more than a dozen times while displaying an incredible array of virtuosity and guitar techniques. It is no surprise though, as Legnani would have been good friends with Niccolò Paganini (1782-1840), the great violinist virtuoso and composer of the 24 Caprices for Solo Violin, all written in different tonalities and displaying a devilish amount of technique as well. Overall, the Grand Caprice, Op. 60 is a fun work full of different themes and musical ideas (not unlike a rhapsody), and remains challenging for even the most accomplished guitarists today…

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Classical guitarist Lorenzo Micheli performs his arrangement Geppetto by Fiorenzo Carpi (1918-1997). The work is a celebrated theme from the soundtrack for the 1972 tv show Le avventure di Pinocchio. This comes via Partita Studio in Seoul, Korea on their YouTube channel (go subscribe). Beautiful playing and phrasing by Micheli on this arrangement that he’s presenting for some time. I actually googled it and found a post on this site from 2014 which I had forgotten.

Sheet Music Suggestions: If you enjoyed this work maybe you’d also like these sheet music selections of Spanish melodies in a late-Romantic style:

• Rosita by Manjon, Grade 4-5
• El Noi de la Mare by Llobet, Grade 7,
• El Testament d’Ameila by Llobet, Grade 7

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Voyager from Le Support – I was very excited to try out the new Voyager model guitar support from Le Support. You might have seen my past review of the Le Support Professional model which I absolutely loved. I’ve been using the Voyager exclusively for the past two months and I can firmly say it is my favourite new guitar support. Although I miss some of the weight of the Professional model, I find the Voyager a bit more well fitted to my body and sitting position and it fits in my shoulder bag which is a huge improvement for portability. Here’s the YouTube link if you want to watch it there.

Quick Summary

The Voyager from Le Support is my favourite new guitar support and I highly recommend it. It has the same secure non-slip contact on both legs as the professional model but with a more portable design making this support a winner in terms of playability and practicality.

➔ Buy or learn more at the Le Support Voyager page

Benefits of the Voyager support

• Non-slip contact on both legs (a new essential in guitar supports)
• A more compact and portable design
• Well fitted to the body and guitar
• Transparent acrylic sheet (5 mm thickness)
• Bronze inserts designed to hold the hooks and strap (sold separately)
• Soft rubber edge for comfortable use. 
• Works with 3 suction cups but I also use a fourth one to be extra safe

Le Support Voyager Comparison to the Professional Model Concerns

I love this support and I’m using it exclusively these days so I don’t have many concerns. I do miss some of the weight of the professional model that pulled the guitar down and made it feel a bit more stable but I also like the snug feeling of the Voyager so I think it evens out. The only concern I have is how close it is in regards to fitting my position and guitar. I’m quite short, play a small scale guitar, and like the guitar quite high so the Voyager is right near the edge of the guitar with the far suction cup (second picture above). With some chair heights I put it millimetres from the edge. But that is partly a personal oddity and I think it would likely fit 99% of people just fine. It’s working great for me at the moment.

Recommendations

I’d love to see the Voyager and Professional supports offered in a matte back 6mm thick transparent Perspex like the Guitarlift Ultimate line. Although I didn’t notice much, if any, flex in the Voyager, especially with 4 suction cups in use, I want maximum rigidity and I like the matte black appearance. This is just a personal preference comment and not a criticism as I’m loving the Voyger support.

Le Support Promotional Info

Designed in response to feedback from users of the Professional model, this updated Le Support® VOYAGER offers the ideal balance between stability and portability. The playing feel is very similar to that of the Professional and Etude models, while adopting a more compact and portable design.

Made using a high-quality transparent acrylic sheet (12 x 12 in, 5 mm thickness), it features bronze inserts designed to hold the hooks and strap (sold separately), as well as a soft rubber edge for comfortable use. Laser-engraved logo.

Thanks to its three suction cups, it easily attaches to the back of the guitar (for guitars with French polish, using the plastic films sold separately is recommended).

Le Support® VOYAGER maintains contact points on both legs, providing excellent stability. Compact, it is ideal for guitarists seeking freedom and comfort, both at home and on the go.

Included: four tab suction cups with transparent nylon nuts.

PROUDLY MADE IN FRANCE!

via: Le Support

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Bradford Werner performs Studio No.6 “Soledad” (Omaggio a Francisco Goya) from Studi di virtuosità e di trascendenza by Angelo Gilardino (1941-2022) on classical guitar. This comes via my YouTube channel. Published by Editions Bèrben. The sheet music edition can be found via Bèrben (Edizioni Curci).

This video was performed on a Marcus Dominelli classical guitar with Augustine Regal strings and a Le Support “Voyager” guitar support. See all my gear here.

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A final word of advice for my book, Right Hand Fingering for Classical Guitar: Concepts and Case Studies. 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.

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A lesson on right hand fingering using case studies No.66-68 which are the final case studies in the book. 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.66-68 from the book (Page 54-57).

Video Times

• 00:00 Intro
• 0:51 Case No.66
• 5:06 Case No.67
• 9:48 Case No.68a
• 15:53 Conclusion

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Question: What is the best way to learn a new piece on classical guitar?

Answer Summary: There are many variables involved in learning a new piece such as understanding the composition itself, the guitar techniques involved, and the comprehension and skill level of the player. Regardless, there are a few steps you can easily follow: research the main musical elements; practice the elements separately and then assemble; practice the sections evenly; examine the techniques involved and practice separately. Lets explore all the variables to get a more clear picture of how to approach a new work.

Research the main musical elements

Before trying to play all the notes in a piece the first thing I try to decide is: what will be my musical priorities and how will I approach the piece? Here are some leading questions:

• Is there a main melodic line to play on its own?
• What will the balance of the different voices be?
• Will the accompaniment be super soft?
• Are there dynamics or articulations involved that need attention?
• Is there counterpoint? Is there more than one independent line to bring out?
• Who was the composer and what does their music sound like?
• Is there research on the piece and composer I can study?
• Period Music – What musical era is the work from and how does that era prioritize different musical elements, concepts, and expressive musicality?
• What guitar techniques are involved and do they need extra practice?
• Are there recordings of the piece I can listen to as well as other music from the era and geographic region (guitar or non-guitar listening)?
• Etc. an endless list.

Practice the elements separately and assemble

This can be anything from a listening examination to a music theory analysis. Or it might just be you deciding what you believe are the musical priorities. In a common Classical era work the above questions might result in some predictable practice methods. A melodic piece with a melody, bass, and accompaniment is a common texture which we can practice in the below order:

1. Practice the melody on it’s own until the phrasing and legato is at a high quality level. You might also sing the melody to really understand it musically.
2. Decide the texture and dynamic balance: bring out the melody the most, then the bass voice, and soften the inner accompaniment.
3. Play the notes together very slowly but try to retain the quality of the individually practiced voices.
4. Raise the tempo gradually while retaining the quality level.

Don’t forget: While practicing in the above way, I might also pick a small phrase and experiment with it at a faster tempo to understand the technique requirements. In other words, take a small section and try to simulate what the end result will feel like. This can help us to understand how long it will take to prepare the work and avoid musical choices that only apply to slow practice tempos.

Examine the techniques involved

Some pieces will require a unique technique element that might need to be practiced separately. Ideally you would already be maintaining most guitar technique in a daily routine but that is not always the case and unique situations often occur.

A common example would be a tremolo piece. Maybe you would add extra tremolo exercises to your technique routine to give it a boost. Or a thick counterpoint piece might require you to add extra finger independence exercises. In unique cases you might turn a portion of the work itself into a technique exercise to master a specific situation that is unique to the piece.

Practice the phrases and sections equally

From the first moment you start practicing a new piece, consider assembling the whole piece somewhat evenly and slowly. Do not practice from start to finish or measure to measure.

Phrasing: Consider practicing phrases one at a time so that you are combining your technique and muscle memory with the musicality. You don’t want to develop technique hiccups in the middle of a musical phrase.

Sections: Isolate the most difficult sections and practice those more until you can play the entire work at a very slow tempo. You don’t want to get really good at the first half of the piece while the second half is weak. Consider the big picture by evening out your ability to play all sections slowly and evenly.

Some practice methods to avoid

• Avoid practicing measure to measure. This can result in muscle memory that is not connected to the phrasing and musicality of the work. It’s too arbitrary, instead, pick a musical destination to play up to. One phrase at a time is better than a random measure to measure approach.
• Do not practice from start to finish. Prioritize your work by understanding which sections need more work than others.
• Do not exclusively use or avoid the metronome. I always check my pieces with a metronome to make sure I actually know how to play the rhythms accurately. This is done throughout my practice development of the work. However, in order to play with musicality that sounds natural I also will practice without the metronome. Some pieces, such as those with lots of rubato, do not benefit from metronome practice. But I still check my rhythms and tempo maintence by using it on occasion.

Decide on the timeline

There are short term projects and longterm projects in music practice. When I practice a longterm piece I don’t even play it with all the notes for many weeks. I’ll start with selected musical elements, or experiment with small phrases. I’ll listen to others play the work, read and do research on the work and composer. Anything to start digesting the work without the difficulty of playing all the notes. Once I start practicing the whole piece I will have lots of insights into how to approach it and what I want the end result to look like.

Additional Topics and Lessons

• Practicing and Refining Musical Textures
• Presenting and Interpreting
• Lesson on Practicing
• Practicing & Reaching Higher Levels
• Feel Stuck When Practicing
• Practicing with a Metronome
• Playing Musically on Classical Guitar 

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 What is the best way to learn a new piece on classical guitar? first appeared on This is Classical Guitar.

Sofia Saggese (mezzo soprano) and Davide Depedro (theorbo) perform Che si può fare (Arie op. 8, Venezia, 1664) by Barbara Strozzi (1619-1677). This comes via Edoardo Lambertenghi’s YouTube channel (go subscribe). Beautiful vocal performance, aria, and accompaniment by Depedro, pure charm.

Barbara Strozzi (1619–1677) was an Venitian composer and singer of the Baroque era, widely regarded as one of the most prolific composers of secular vocal music in 17th-century Venice. Strozzi composed a remarkable number of works, publishing eight collections of music—primarily cantatas, arias, and madrigals. She likely had more secular music in print than any other composer of the era.

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A lesson on right hand fingering using case studies No.58-65 which focuses on voice separation and thumb use. 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.58-65 from the book (Page 46-53).

Video Times

• 00:00 Intro
• 1:18 – Case No.58b
• 6:03 – Case No.59b
• 9:24 – Case No.60a
• 11:47 – Case No.61a
• 15:09 – Case No.62a
• 19:04 – Case No.63a
• 24:20 – Case No.64b
• 30:38 – Case No.65a

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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.

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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

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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

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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

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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

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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.

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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.

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