This is Classical Guitar

Canadian classical guitarists Marc-Etienne Leclerc and William McAllister perform their arrangement of Passacaglia from Suite No.7 for harpsichord by Georg Friedrich Handel (1685-1759). This comes via his YouTube channel (go subscribe). This is actually from a few years back but I was researching duo arrangements and I really like this one, it might even inspire me to arrange some Handel. Here’s their description of the work via YouTube:

This Passacaglia by german composer Georg Friedrich Haendel (1685-1759) is taken from Suite No. 7 for harpsichord. Throughout its numerous ‘variations’, we hear a single theme repeating itself in the harmony, which the composer and interpreters endeavour to renew every time. Arranged for two guitars by M-E Leclerc & W McAllister, this interpretation showcases a strong freedom from the original notation ; indeed, all the way through the work, each repeat is enlivened by various embellishments bringing out the improvised nature inherent to baroque music.

Baroque Music Sheet Music

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

The post Leclerc-McAllister Perform Passacaglia by Handel first appeared on This is Classical Guitar.

Canadian guitarist Drew Henderson and violinist Dr. Clara Haneul Yoon perform Cafe 1930 and Nightclub 1960 from L’Histoire du Tango by Argentine composer Astor Piazzolla (1921–1992). This comes via Henderson’s YouTube channel (go subscribe). I’d add to this post as they record more of these. As he mentions, keep an eye out in the future for a Piazzolla album!

The post Henderson-Yoon Perform Histoire du Tango by Piazzolla first appeared on This is Classical Guitar.

Theory Lesson No.5a: Grand Staff, Middle C, and Octave Indications. Middle C is important mainly because it serves as a common reference point in music, notation, and instrument orientation and visually connects the treble and bass clefs. The grand staff allows us to analyze music containing a large range of pitches in the two most common staffs used today. Octave indications allow us to keep the notes more within the staff itself instead using large amounts of ledger lines. You can find all the lessons at the Music Theory Lessons page. Here’s the Youtube link if you want to watch it there.

Despite the large number of clefs possible, the treble clef and the bass clef have become the most widely used clefs in modern times. It is essential that you learn both even as a guitarist. It will allow you to understand a vast variety of musical examples and theory. As a guitarist it will also allow you to check over arrangements of piano and cello music or the understand everything from chamber music scores to jazz charts. 

Middle C and Early Clefs

Many of the earliest clefs indicate middle c as a reference pitch, such as the soprano clef, alto clef, and tenor clef. The soprano clef is rarely in use today. You can see that all three clefs point to middle C from the centre of the clef.

The Grand Staff and Middle C

The grand staff combines a treble clef on an upper staff and a bass clef on a lower staff. Piano music is usually written and read on grand staff due to the large range of the piano. It is also useful in music theory as it allows us to analyze music since it provides such a large range of pitches. The grand staff is connected by a brace which lets you know that the two staves are connected as one. 

Here is the musical alphabet presented from low to high on the grand staff. The pitch that links the two staves together is middle C. Middle C can be written above the bass clef or below the treble clef but it is important to know that it is the same pitch and location regardless of which clef we write it on.

Middle C connects to bass and treble clefs. Below, you can see how the notes progress from one staff to the next with middle C in the middle. This is just a visual aid for learning, it’s pretty much never written like this.

Octave Indications

An octave is the interval between one note and another note with the same name but a higher or lower pitch. For example:

• C to the next higher C is one octave.
• C to the next lower C is also one octave.
• A to the next higher A is one octave.
• A to the next lower A is one octave.

There will be a dedicated lesson on Octaves in a future lesson. Today is just an orientation to the idea.

If we need to write passages of music outside the range of either clef we can use ledger lines or for extended passages we can use the octave sign (ottava, 8va, 8vb).

8va = perform the pitch one octave higher than written

8vb = perform the pitch one octave lower than written

Below is an example of the octave above indication where you can see that the written music ends up sounding much higher. You don’t need to fully understand the notes at this time.

Below is an example of the octave below indication where you can see that the written music ends up sounding much higher.

Below is an example of how very high passages use too so many ledger lines that the reading can become difficult. With the octave indication the notes are brought back into a more reasonable range.

In the next lesson we will briefly discuss pitch class and octave designation to see how the various clefs and pitches are laid out in a universal perspective. 

The post Theory Lesson No.5a: Grand Staff, Middle C, and Octave Indications first appeared on This is Classical Guitar.

Petra Poláčková performs Sonata Romántica by Manuel Ponce (1882–1948) on a vintage 1926 Domingo Esteso guitar with video/audio by Drew Henderson. This comes via Guitars International and their YouTube channel (go subscribe). It’s been a long time since I’ve heard anyone play the Sonata Romántica but is a joy as always. Nice performance by Poláčková with some beautiful phrasing and special rubato moments. Such a lovely lush harmonic work.

The post Petra Poláčková Performs Sonata Romántica by Ponce first appeared on This is Classical Guitar.

Question: Is it acceptable to hit an adjacent string during slurs? For example, when playing a pull-off on the 2nd string is it okay to make contact with the 1st string with the left hand slur finger?

Answer Summary: The answer is based on the context of the desired musical result of your descending slurs (pull-offs). When the slur finger rests on the string below the sound from that string is muted whether intentionally or not. Therefore, if you wish for the adjacent string to continue to sustain you need to avoid it with a shallower follow-through or a more on-off slur movement. If you wish to mute the sustaining adjacent string intentionally you can make contact on the adjacent string but without re-striking it.

Let’s explore these tips in more detail.

Three Types of Slur Movements in the Left Hand

There are three types of slur movements we practice in classical guitar and each one affects the sound in a different way.

1. Downward Pluck: The descending slur finger plucks the string and rests on the adjacent string. This is essentially a left hand rest stroke. This provides a strong and solid sound to the slur in which both slurred notes can sound relatively even. Hoever, this mutes the adjacent string if it was sustaining.
2. On-Off Release: In this descending slur the finger moves directly up and down (or on and off) from the string without any contact on adjacent strings. This produces a softer slurred note (the second note of the two) and if the adjacent string is sustaining it continues to sustain.
3. The In-Between Slur: This slur movement is one where there is a mild downward pluck with the slur finger offering clarity to the slurred notes but no contact is made with adjacent strings. This is a more precise movement and there is varying degrees of pluck vs direct release. The potential for accidental muting or re-striking the adjacent string is the danger here.

At minute 3:17 I demonstrate the Three Ways to Play Pull-offs (Descending Slurs)

Additional Sustain Considerations

Re-striking the sustaining adjacent string – It is not advisable to re-strike a sustaining adjacent string with the slur finger to imitate the sustain of that string. For example, you play a descending slur on the 2nd string while the 1st string is sustaining, your slur finger re-plucks the 1st string to avoid muting it. This would change the notation of the composition and add an extra note. In this situation I’d advise you use either the On-Off Release or the In-Between slur technique.

Additional Muting Considerations

Muting with the left-hand slur finger – For example, you play a descending slur on the 2nd string while the 1st string is sustaining, your slur finger makes contact with the sustaining note to intentionally mute it. This is an acceptable way to mute an adjacent sustaining string if the circumstance allows. In some situations the right hand or another finger can also mute the string. But yes, this is an acceptable way to mute a string intentionally.

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 Muting and Sustaining Adjacent Strings During Slurs first appeared on This is Classical Guitar.

Left Hand String Clearance Exercise – This exercise helps students play with curved fingers on their fingertips which helps with all left hand techniques. It also creates a situation where the student becomes aware of bad technique habits by listening to the open string sustain. It’s so simple and effective that I assign it to all my classical guitar students. It’s a basic four finger placement exercise with open strings below.

• Play the left hand fingers 1-2-3-4 on one-finger-per-fret.
• After each finger play the open string below.
• This will create a situation to check your clearance ability with each finger because if you are not on your fingertip you will accidentally mute the open string.
• Start in the 5th position but once you feel confident play it at all frets to check your clearance.

• Download a free PDF of this exercise here

Tips and Lessons Regarding Guitar Position

It’s always important to first check your guitar position.

Practical Tips for Left Hand Clearance

Guitar Position: Double check your guitar position making sure the headstock is around eye level. This might seem a bit high but it’s a general guideline. You can see my Guitar Position Lesson and also my Q&A on Headstock at Eye Level.

Tilt the guitar – Tilt the face of the guitar to a steeper angle (up and down rather than leaning toward you on the upper bout). This is the advice in the video at 10:18 above.

Left Hand Lesson – See my full lesson for the left hand here: Left Hand Position for Classical Guitar.

Play on the tip of the fingers – Playing on the tip of the finger is important but the other factors mentioned in the video are essential to the solution. Playing on the fingertips alone will not necessarily result in enough clearance.

Align the knuckles of the left hand – The left hand must be aligned with the strings otherwise the fingers will come in at an angle which reduces clearance of the strings below. This is more relevant to the 4th finger but still applies to all fingers. This will result in angled fingers on finger 1 and 4.

Curve the fingers – You must also have the neck of the guitar up high enough that you can curve your fingers properly.

A = Curvature at the tips joint

B = Curvature at the middle joint

C = Curvature at the knuckle

Check this this lesson on: 6 Common Technique Problems Solved with a Better Guitar Position (video below). My biggest piece of advice for this issue in presented in the this video, all the advice in this video is relevant, but specially see the video at minute 10:18.

Check out my full technique book with videos

Classical Guitar Technique: Essential Exercises, Scales, & Arpeggios – 122 pages with tons of video lessons.

The post Left Hand Clearance Exercise for Classical Guitar first appeared on This is Classical Guitar.

Lutenist Domenico Cerasani performs Fantasia 33, and the intabulation Quand’io penso al martire (123 da J. Arcadelt) by Francesco Canova da Milano “Il Divino” (1497-1543). This comes via Edoardo Lambertenghi’s YouTube channel (go subscribe). I can rarely resist posting performances of da Milano, especially when performed as beautifully as here on 6 course Renaissance lute. The intabulations of vocal works are particularly interesting as they were essentially cover tunes of the hits of the day.

The post Domenico Cerasani performs Francesco da Milano first appeared on This is Classical Guitar.

Italian classical guitarist Adelaide Gemo performs Vals No.3, Op.8 by Agustin Barrios Mangore (1885-1944). This comes via Pyrophorus Records and their YouTube channel (go subscribe). Wonderful performance by Gemo with such crisp and clear lines but always musical, rhythmic, and flowing. You can also find her YouTube channel here.  

The post Adelaide Gemo Performs Vals No.3, Op.8 by Barrios first appeared on This is Classical Guitar.

Sons de Carrilhões (Maxixe-Chôro) by João Pernambuco (1883-1947). 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 6-8) depending on your desired tempo and level of refinement. Please note that this work is in Drop D (tune the 6th string down to D).

My PDF Sheet Music via Werner Guitar Editions

• Sons de Carrilhões by Pernambuco (PDF)

João Pernambuco (1883–1947) was a Brazilian guitarist and composer who played a major role in developing Brazilian guitar music. Born João Teixeira Guimarães in Pernambuco, Brazil, he became known for blending traditional Brazilian folk rhythms with classical guitar techniques. His compositions, especially Sons de Carrilhões, remain important in the classical guitar repertoire and influenced later Brazilian musicians and composers.

Video Times & Topics

• 00:00 Performance
• 2:37 Intro Discussion
• 8:41 Walkthrough Lesson
• YouTube Video Link

Promo Cover and Samples

The post Sons de Carrilhoes by Pernambuco first appeared on This is Classical Guitar.

A review of cheap generic guitar supports purchased off amazon for $30. Both had serious problems and are not recommended. The supports I look at are generic brands found on Amazon:

• Tuoren Guitar Support (a clear ripoff of the Ergoplay support)
• Nassmosse Guitar Support (obviously ripoff of a Guitarlift).

I’d be curious to try more and will post more here if I do. This Milisten might have a better fastener for example.

If you want a good guitar support here are some ideas

See my full article of various Reviews of Guitar Supports. From suction cups, to clamps, to magnets there is a guitar support for everyone. At home I use the ErgoPlay Troster.

• Voyager from Le Support – This is the support I’ve mainly be using these days, but I also like the pro model which is bigger. This is my new personal favourite.
• ErgoPlay Guitar Support – I use the Tröster model and recommend this as a first support for lots of students.
• Guitarlift – Guitarlift started the back mounted supports and they are great. Good and super solid, fits more sizes and positions of players than Le Support. I actually recommend this support quite often. I use the “Ultimate model, Matte Black”
• Woodside Guitar Support – Clamp System (no suction cups), highly adjustable, great solution.

The post Cheap Classical Guitar Supports first appeared on This is Classical Guitar.

JoLuck E02 Amoroso Small Scale Classical Guitar Review – It was a joy testing out the JoLuck E02 Amoroso which is an affordable small scale lattice braced classical guitar available in four different sizes. In the review I play a piece of music, look at some pictures, and have a discussion about the instrument.

Quick Summary: The JoLuck E02 Amoroso is an excellent value at this price point. The solid cedar top, lattice bracing produces a big clear sound for a small scale guitar. The most amazing part is the four different sizes ensuring you’ll get the perfectly sized instrument for your needs. Clear basses and and a nice singing sustain in the upper range makes this instrument a winner in its class. Modern additions such as the 12 hole bridge are great to see as well. Here’s the YouTube review link.

Get 10% off with this code at checkout: WERNER

Learn more or buy a JoLuck E02 Amoroso from Proportion Guitars – Classical Guitars Designed for Small Hands. They offer JoLuck classical guitars in small scale sizes: 520mm, 580mm, 615mm, and 630mm with proportional nut widths. Every guitar gets thoroughly inspected and adjusted before it leaves their shop. This review was in cooperation with Proportion Guitars but is an honest review with no requirements or obligations.

A Small Scale Guitar – The most amazing thing 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 Amoroso 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 580mm.

Volume and Playability – The guitar excels at producing a loud sound in this price range. The lattice bracing is likely helping this aspect out. For minimal effort in the right hand I was able to get a surprising amount of volume from the guitar. I give it top marks for volume and playability.

Sound and Tone – The tone is good, especially in the upper range. It does have a slight ‘open’ or ‘hollow’ sound but it’s a woody one which is nice. This is likely from the mahogany and lattice combination. The good thing is that the definition between the strings is very clear and defined. Many lattice guitars in this price range have muddy basses but these ones are clear and crisp. That said, if you are looking for a traditional fan brace guitar with rosewood, this is a bit different. But most fan brace guitars in this price range tend to be overbuilt which really constricts the guitar so lattice bracing a good fit here, especially for students struggling to get sound from their instrument. Keep in mind that JoLuck has other models with a variety of designs such as the Dolce which is the next model up with Indian rosewood back and sides.

Workmanship and finishing – The workmanship is super clean and the finishing was all pristine.

Concerns and Critiques – At this price I don’t have any criticisms. It’s a well built guitar with lots of things working well. The only thing I would consider when recommending it would be whether to upgrade to the JoLuck Dolce (or higher). The Dolce has Indian rosewood back and sides which might give you a slightly more sophisticated or traditional sound and a wider dynamic range. I like the mahogany but I suspect it increases the ‘woody openness’ that I described above. I like the tone on the Amoroso but if you are after something with a richer sound you may wish to consider the upgrade if you can afford it. I haven’t tried the Dolce yet but I suspect that would be the difference.

Value – The guitar exceeds my exceptions for a small scale instrument in this price range.

Specifications

• Soundboard: Solid Canadian Cedar
• Back and Sides: Mahogany
• 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
• Strings: Knobloch EDQ
• Finish: High Gloss PU
• Packaging: JoLuck Deluxe Gigbag
• Price: See Proportion Guitars
• More Measurements: See this page on Proportion Guitars

JoLuck E02 Amoroso Photos

Here is the link to my video review on YouTube if you want to watch it there.

The piece I play the video is Double by David Kellner from my Easy Classical Guitar Volume 2.

Links & Questions

Get 10% off with this code at checkout: WERNER

Learn more or buy a JoLuck E02 Amoroso from Proportion Guitars – Classical Guitars Designed for Small Hands. They offer JoLuck classical guitars in small scale sizes: 520mm, 580mm, 615mm, and 630mm with proportional nut widths. Every guitar gets thoroughly inspected and adjusted before it leaves their shop. This review was in cooperation with Proportion Guitars but is an honest review with no requirements or obligations.

➔ More Measurements: See this page on Proportion Guitars

➔ Visit JoLuck Guitars

Feel free to ask question in the comment section below.

The post JoLuck E02 Amoroso Classical Guitar Review first appeared on This is Classical Guitar.

Classical guitarists João Luiz  and Alan Liu perform Afrocuban Dances by Ernesto Lecuona (1896-1963) and arranged by Leo Brouwer (b.1939). This comes via the Leo Brouwer Ediciones Espiral Eterna’s YouTube channel (go subscribe). Great performance by Luiz and Liu with intricate ensemble playing and tight rhythmic delivery. As Brouwer mentions (translated): “These arrangements for two guitars arose from a personal need: to hear some of my great-uncle Ernesto Lecuona’s most emblematic piano works performed on my instrument.”

The post Luiz & Liu Perform Afrocuban Dances by Lecuona first appeared on This is Classical Guitar.

Classical guitarist Kasia Smolarek performs Caprice No.24 from 24 Caprices for solo violin, Op.1 by Niccolò Paganini (1782-1840). This comes via Smolarek’s YouTube channel (go subscribe). You can also check out her album on BandCamp. Great performance by Smolarek with very consistent articulation and some intense surprises and risks. Such a versatile technique and musicality.

The post Kasia Smolarek Performs Caprice No.24 by Paganini first appeared on This is Classical Guitar.

Bluvenduo with Zhanxiang Shi (Shanghai) and Sebastian Robles (Edmonton) perform a programme of Romantic era works by César Franck (1822-1890) and Franz Schubert (1797–1828). This comes via Siccas Guitars and their YouTube channel (go subscribe). Formed in San Francisco and now based in Geneva, Bluvenduo won the 2025 GFA International Ensemble Competition. Excellent performance and ensemble work with great control of the textures and intricately matched phrasing and dynamic range.

Repertoire and Times

• 00:00 Prelude, Fugue, et Variation by César Franck, Op. 18 (Arr. Bluvenduo)
• 09:36 Sonata in A Major Op. 120, D. 664 by Franz Schubert (Allegro moderato)
• 17:09 Sonata in A Major Op. 120, D. 664 by Franz Schubert (Andante)
• 21:17 Sonata in A Major Op. 120, D. 664 by Franz Schubert (Allegro)

The post Bluvenduo Classical Guitar Concert first appeared on This is Classical Guitar.

Classical guitarist Antigoni Goni performs Vidalita by Agustin Barrios Mangore (1885-1944). This comes via Siccas Guitars and their YouTube channel (go subscribe). Great to see Goni perform this work after hearing her recording of it way back in 2001. Here’s a bit more info on the work via this Naxos recording by Goni and notes by Rico Stover: “The traditional vidalita is a slow, minor key song form dating from the 18th century and cultivated by the gauchos of the Pampas region of Argentina. Barrios created his Vidalita con variaciones early in his career and recorded it in 1914 in Buenos Aires. This work is typical of Barrios’ early period when he performed in cinemas and theatres as interval entertainment.”

Sheet Music with Videos – Werner Guitar Editions has a few videos and sheet music editions of Barrios if you’re interested.

• Minueto in C by Barrios, Grade 5
• Preludio in D Minor by Barrios, Grade 7
• Una Limosna por el Amor de Dios by Barrios, Advanced

The post Antigoni Goni Performs Vidalita by Barrios first appeared on This is Classical Guitar.

Nicole Payie is a close friend and colleague of mine who is kind, friendly, encouraging, and professional. She has a masters degree in music and teaches privately and at the Victoria Conservatory. These classes are a great opportunity to either start your guitar journey correctly or get some review and feedback to build a better foundation. Plus, she is using my method book and is familiar with my whole series making it a perfect match for my online followers and students. I sincerely hope you will consider this great opportunity.

Class sizes are limited to a maximum of 8 students to ensure individualized attention. Sign up quickly before spots get filled.

→ More information and registration at Nicole’s Site

Current Classes for May 2026

Beginner Classical Guitar Foundations – A set of four online small-group courses designed for beginners who want to build a strong and reliable foundation on the classical guitar. Using Classical Guitar Method Volume 1 by Bradford Werner, students will develop essential technique, reading skills, and core fundamentals in a warm and supportive environment.

Late Beginner Classical Guitar Group Class – A set of four online small-group courses designed for late beginners who are ready to build on their foundational skills and grow as confident players. Ideal for students at the RCM Prep–RCM Book 2 stage (post Volume 1 method books), the class focuses on developing repertoire, refining technique, and strengthening musicality. Through a combination of guided performance practice, informal masterclass-style coaching, and individualized feedback, students will gain valuable experience playing for others while receiving clear, constructive guidance.

Here is a video of Nicole and I playing a duet from earlier this year The post Online Classes with Nicole Payie for Beginner to Early-Intermediate (May 2026) first appeared on This is Classical Guitar.

Classical guitarist Alexander-Sergei Ramírez and Sheila Arnold (fortepiano) perform the overture to Eduardo e Christina by Gioachino Antonio Rossini (1792-1868), arranged by Ferdinando Carulli (1770-1841) from his Choix de 12 Ouvertures for Guitar and Piano. This comes via Deutsche Grammophon and their YouTube channel (go subscribe). You can also hear this on their 2012 album which you can stream on Spotify.

Great performance by these two artists. Also, it’s wonderful to hear this work on period instruments and the writing clearly gives the guitar room to emerge from the texture at appropriate points. Sometimes in these recording situations the mics are placed to balance the two instruments, but this audience-style mic recording is a more realistic listening experience. When the guitar needs to be heard the piano writing almost drops completely.

The post Ramírez and Arnold Perform the Overture to Eduardo e Christina by Rossini first appeared on This is Classical Guitar.

Question: How do I not mute adjacent strings with the left hand when playing chords and arpeggios on classical guitar? More specifically, when practicing Giuliani Arpeggios, the 4th string D gets partially muted by my left hand 2nd finger that is playing B on the 5th string. This happens no matter how hard I try to use the tip of my fingers to play. Is it okay to lift the 2nd finger off and place it back when needed?

Answer Summary: The usually fix for left hand clearance issues is to make a series of tiny adjustments to a variety of positions which results in a significant improvement. Small adjustments, sometimes only millimetres to your posture, guitar position, guitar angle, and left hand alignment is enough to create the few millimetres of clearance needed to avoid muting the string below. This is more ideal than lifting the finger unnecessarily.

Let’s explore the adjustments in more detail.

Tips and Lessons Regarding Guitar Position

Check this this lesson on: 6 Common Technique Problems Solved with a Better Guitar Position (video below). My biggest piece of advice for this issue in presented in the this video, all the advice in this video is relevant, but specially see the video at minute 10:18.

Practical Tips

Guitar Position: Double check your guitar position making sure the headstock is around eye level. This might seem a bit high but it’s a general guideline. You can see my Guitar Position Lesson and also my Q&A on Headstock at Eye Level.

Tilt the guitar – Tilt the face of the guitar to a steeper angle (up and down rather than leaning toward you on the upper bout). This is the advice in the video at 10:18 above.

Left Hand Lesson – See my full lesson for the left hand here: Left Hand Position for Classical Guitar.

Play on the tip of the fingers – Playing on the tip of the finger is important but the other factors mentioned in the video are essential to the solution. Playing on the fingertips alone will not necessarily result in enough clearance.

Align the knuckles of the left hand – The left hand must be aligned with the strings otherwise the fingers will come in at an angle which reduces clearance of the strings below. This is more relevant to the 4th finger but still applies to all fingers. This will result in angled fingers on finger 1 and 4.

Curve the fingers – You must also have the neck of the guitar up high enough that you can curve your fingers properly.

A = Curvature at the tips joint

B = Curvature at the middle joint

C = Curvature at the knuckle

A great exercise to practice

A great exercise to practice is a basic four finger placement exercise with open strings below.

• Play the left hand fingers 1-2-3-4 on one-finger-per-fret.
• After each finger play the open string below.
• This will create a situation to check your clearance ability with each finger
• Start in the 5th position but once you feel confident play it at all frets to check your clearance.

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 Left Hand String Clearance – How to Avoid Accidental Muting first appeared on This is Classical Guitar.

Carlo Fierens plays Andante et allegro by Napoléon Coste (1805-1883) performed on a rare 1855 René-François Lacôte seven-string guitar (Coste’s own model), generously lent by Adopt a Musician (Accornero Collection). This comes via Siccas Guitars and their YouTube channel (go subscribe). Amazing to hear these works, not only on a period guitar but on a model that Coste would have used. Love that bridge style on the guitar and, what I assume, is a platform on the top for resting the picky?

The post Carlo Fierens plays Andante et allegro by Coste on a 1855 Lacôte first appeared on This is Classical Guitar.