This is Classical Guitar

Juyeong Bae performs Songe Capricorne by Roland Dyens (1955–2016). This comes via Partita Studio in Seoul, South Korea on their YouTube channel (go subscribe). This a great performance to study contrasts in musical expression. Each phrase has very specific articulation, dynamics, accents, and colour choices.

As Dyens mentions in his score from Editions Henry Lemoine:

I have to admit to a sneaking liking for this Capricorn dream which, for the price of re-tuning your A string to B, will whisk you off to a new but friendly world, very different from our everyday environment. Here bells ring out, arpeggios and harmonics cascade like waterfalls, all blending in an evocation of the harp, where the sounds of today and modal memories of yesterday join in friendly rivalry. – Roland Dyens

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Canadian guitarist Jérôme Ducharme performs Prelude, Fugue & Allegro, BWV 998 by Johann Sebastian Bach (1685-1750) on a René Wilhelmy classical guitar. This comes via Canadian luthier René Wilhelmy’s YouTube channel (go subscribe).

I really enjoyed the very rhythmic and well paced prelude performance. I love this prelude played freely or more with a bit more refined structure as heard here with very controlled articulation and placement of the main pulse.

The release dates for the rest of the movements are:
Fugue — September 29
Allegro — October 13

I’ll update this post as they are released.

Sheet Music Editions of Bach

If you enjoyed this performance maybe you’d like to check out 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

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Hungarian classical guitarist Zsombor Sidoo performs Violin Sonata No.2, BWV 1003 by Johann Sebastian Bach (1685-1750) played on a Bernhard Kresse Stauffer Model 2011. Movements include Grave, Fuga, Andante, and Allegro. This comes via Sidoo’s YouTube channel (go subscribe). 

Amazing performance with excellent pacing throughout and careful motivic attention. Bach’s Sonata No.2 was composed for solo violin and includes a monumental fugue that is exceptionally long and substantial, running 289 measures and standing as one of Bach’s most extended fugues for a solo instrument.

Sheet Music Editions of Bach

If you enjoyed this performance maybe you’d like to check out 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

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Question: What is the best position for the music stand when playing classical guitar?

Answer summary: The best music stand position depends on whether you are performing or practicing and involves many variables such as ergonomics and visual sight lines. In general, a position slightly toward your left and high enough that you do not have to bend your neck or arch your back in order to see the music is ideal. Below I give you a strong recommendation and then explore the variables in more depth.

Here is the YouTube video link in case you need it.

Ideal Music Stand Position for Home Practice

When practicing at home you can prioritize ergonomics and convenience. You can even adjust the stand to help correct, or at least encourage, posture and position issues.

Horizontal position: Adjust the music stand so you can see both the music and your left hand in your peripheral vision. This will help you avoid looking back and forth from the music to your hand. Don’t move it so far that your neck is bent and turned to the left, have it center left so your eyes can see a bit of both the music and your left hand.

Vertical position: You should adjust the music stand to be high enough that you do not have to bend your neck or arch your back in order to see the music. In fact, for student with bad posture I often raise it so they need to straighten out in order to see the music.

Visual acuity: Depending on your eyes and vision you may need the stand closer or further to see the music clearly. When sight reading I need it a bit closer but when playing something I know well the music can be further away as I’m using it almost as a guide.

Music Stand Position When Performing

When performing you want a clear line of sight between the audience and your guitar and body. This is important to the audience, they came to see and hear you. You also don’t want the music stand to block the sound that is directed at your listeners. Therefore, the music stand is often quite low. It should be low enough that the audience can see your guitar and hands clearly.

When playing music we know well this is usually fine as we have it half memorized anyway and are using the score more as a guide. When sight reading or playing ensemble music compromises must be made depending on your visual acuity.

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Bradford Werner performs Studio No.15 – Canto di primavera (Omaggio a Igor Stravinskij) 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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Carreiro-Williams Guitar Duo with Jose Carlos Carreiro and Torrin Williams perform Preludio from Violin Partita No.3 in E major, BWV 1006 by Johann Sebastian Bach (1685-1750), arranged by Sergei Rachmaninoff (1873-1943), and then arranged again by Torrin Williams. This comes via their YouTube channel (go subscribe). They also have a score available.

An arrangement of an arrangement! Great performance and a joy to hear the well-known work reimagined. Very intricate and well worked out performance.

Looking for some Bach to Play? Check out some of these works with sheet music, video performance, and lessons.

• 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 Carreiro-Williams Guitar Duo Perform Preludio BWV1006 by Bach first appeared on This is Classical Guitar.

Liying Zhu performs the second movement, Passacaglia from Tres Piezas Españolas by Spanish composer Joaquín Rodrigo (1901-1999). This video comes via GuitarCoop and their YouTube Channel (go subscribe). Excellent performance by Liying Zhu with great phrasing, colour and texture control. In particular, her ability to bring out the theme even in the most complex passages is a joy to hear.

Looking for Spanish Repertoire?

Check out our Spanish Classical Guitar Sheet Music along with video performance sand lessons.

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Question: Why can’t I play with a metronome? I don’t know why but find it to be distracting. I have tried the clicking ones and the blinking lights. Tapping my foot also distracts me. 

Answer Summary: Playing with the metronome is something that sometimes needs progressive practice to develop the skill in a natural way rather than just turning it on and playing your pieces. The main advice here is that you want to feel the beat internally and then play along with that internal beat rather than trying to beat-match with precision.

Start simple by learning to tap your foot to music and then progress to playing open strings to the beat of music. When you start using the metronome begin with simple exercises and even rhythmic divisions. You want it to feel natural, relaxed, and casual so a slow progressive plan is helpful. Let’s explore this in more detail below with a 10 step plan. Don’t move to the next step until you feel confident.

How to Play with a Metronome – Video Lesson

Here’s the YouTube lesson link in case you need it.

Step 1: Tap your foot to music

Start by listening to some pop music with a regular beat. Don’t put on classical music yet, try something easier and obvious with drums and a consistent beat such as the Beatles or equivalent. Learn to tap your foot and clap to the music in a relaxed and natural way. Don’t worry about being precise, just feel the music first and then start tapping.

The goal is to make it a natural experience. For example, when sitting at the table eating lunch with music on, without thinking about it, you start tapping your foot to the music. That is the natural feel we are after. You want to reproduce that natural infusion of the beat in your body to your practice room sessions.

Try this with a variety of different popular styles of music that have a strong and obvious beat.

Step 2: Play an open string to the same music

Once you feel comfortable tapping along with the music, grab your guitar and play an open string instead of tapping your foot. Use the same music you were listening to before. The way you were tapping before, play the open string in the same way. It doesn’t matter if the pitch matches or not, you just want to feel the beat rather than try to match it intellectually.

If you have trouble, try tapping the beat with your foot eight times followed by playing the open string eight times. Playing the string is just another way of tapping. You can experiment with tapping to the beat with only your index finger on a table or the top of the guitar first.

Step 3: Play an open string and tap to the same music

Now try tapping your foot and playing an open string to the beat while listening to the music. Remember to feel the music first and then start tapping. You don’t want to try to beat-match with precision, instead, just casually feel the beat for awhile and then begin. Again, start with just tapping and then add the playing. You’ll be tapping and playing at the same time.

Step 4: Tap to the metronome

Set the metronome to approximately the same tempo as the music you were listening to; anything close is fine. Pretend the metronome is a wonderful piece of music, feel the beat and tap to it. Don’t beat-match, just listen to it and start tapping in a relaxed and casual way. We want this to feel like Step 1: natural, relaxed, and casual.

Step 5: Play an open string with the metronome

Similar to Step 2, play an open string to the beat. Feel the beat first as if the metronome was a pop song and then start playing. If you start trying to beat-match you aren’t feeling the beat. Stop and go back to a previous step.

Step 6: Tap and play with the metronome

Similar to Step 3, tap your foot along with the metronome beat and add the playing of the open string simultaneously. You’ll be tapping and playing at the same time on each click. If you can’t do this, go back to a previous step. Remember, feel the beat first, the way you did in step 1, and then start.

Step 7: Tap and Play rhythmic figures with the metronome

This step is very important. You want to feel the beat but play various rhythms over it. Start very simple and then progress to a variety of rhythms. You may have to stay on this step for a few weeks or months (I still do this everyday with scales and other technique exercises).

Start with tapping the beat with your foot as quarter notes and playing eighth notes on an open string.

Try with triplets

Try sixteenths

Variation with Tap

Dotted Figure with Tab

Repeat all with tapping your foot to the beat and playing the various rhythms.

Step 8: Play simple technique exercises with the metronome

You can now progress to playing simple technique exercises with the metronome. Start with something simple such as a one octave scale playing each note on the beat. You can then try playing the scale in eighth notes, triplets, and sixteenth notes. Even try dotted figures.

The reason you want to use an exercise is that you may not be ready for the variety of rhythms encountered in repertoire. Exercises are usually short, consistent, and can be looped (repeated).

Step 9: Play beginner method book pieces with the metronome

You’ve made it! You can now play with the metronome but don’t push your multitasking abilities too far too fast. For 5 mins a day play a beginner method book piece with the metronome. This is have more rhythmic and playing variety than an exercise.

Step 10: Work your way up to your level

Slowly playing more challenging pieces with the metronome during a dedicated part of your practice session. For example, if you are a grade 3 player, play a few pieces from grade 1 and then a few from grade 2. This might take days or it might take months but just do it for 5 minutes a day as a dedicated skill building session.

Support

If you need any clarification on this particular Q&A please leave a comment below. Also visit the main Classical Guitar Q&A page. If you are enjoying the free lessons you can support the site here.

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Finnish lutenist Tuomas Kourula along with sopranos Anneliina Rif and Maikki Säikkä performs Ohimè, dov’è il mio ben? (SV 140) by Claudio Monteverdi (1567–1643) via the Turku Early Music Society and their YouTube channel. Beautiful performance by Kourula and love vocal duet with theorbo, both visually and musically here. “Ohimè, dov’è il mio ben” (SV 140) is a famous vocal duet composed by Claudio Monteverdi and published in his Seventh Book of Madrigals (Il settimo libro de madrigali) in Venice in 1619.

Here’s the YouTube description:

When Monteverdi writes a duet, you know it’s going to be something extraordinary. This one has for long been one of our favourites, and we have performed it in many concerts over the years. It’s difficult to say exactly why we like it so much – it probably has to do with the beauty of the dissonances and their resolutions, and the way tension keeps mounting until the end, and the great release in the concluding bars.

“Ohimè” is based on the ancient Romanesca ground or chord progression, but it is here so stretched out and modified that it may be difficult to notice this just by listening. Still, the connection to this well-known ground lends a strong foundation to the duet, giving it structure. We thank the Maaria parish in Turku for the opportunity to film in their church!

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Duo Melis with Susana Prieto from Spain and Alexis Muzurakis from Greece perform the world premiere of Firelit Ascent by Tudor-Mihai Gliga. This comes via Siccas Guitars and their YouTube channel (go subscribe). It’s been awhile since I’ve seen a Duo Melis video and it’s a pleasure as always. Very colourful performance with intricate ensemble work.

Check out the new duo and ensemble sheet music page Ensemble Music (Duets, Quartets, More). You’ll find plenty of beginner to late-intermediate ensemble works to explore and play yourself.

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Study No.4, Op.40 [Moonlight Study] by Leonard Schulz (1813-1860) from Exercises and Studies for the Guitar, “The Indispensable”. PDF sheet music for classical guitar with performance and lesson video. Comes with both a notation edition with left hand fingering and a separate tab edition. The level is mid-intermediate (grade 7, or 5-8 range) depending on your technique, desired tempo, and level of refinement. The tempo is slow but there are a good amount of chord changes while focusing on the melodic line.

My PDF Sheet Music Edition

• Study No.4, Op.40 by Schulz from Werner Guitar Editions

The reference to the Moonlight Sonata, Piano Sonata No. 14 in C♯ minor, Op. 27, No. 2 by Ludwig van Beethoven (1770-1827) is purely editorial due to the similar texture and harmonies of the opening section. Schulz makes no mention of the sonata or Beethoven and quickly differentiates the work in the melodic major key section. Maybe I’ve made too much of the reference but I believe many listeners would immediately hear it during the first section so I took the leap and nicknamed it.

Leonard Schulz (1813–1860) was an Austrian guitarist, composer, and celebrated virtuoso of the Romantic era. Born in Vienna, he began performing as a child and toured Europe with his musical family, appearing in London, Paris, and other major centres. Schulz eventually settled in London and composed more than one hundred works for guitar, including études, arrangements, and concert pieces. 

Samples

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Jack Hancher performs the 4th movement, IV. Final: Allegro con Brio from Sonata by Antonio José (1902-1936). Filmed on location in London, England via the Omni Foundation series and their Youtube channel. Brilliant performance by by Hancher with such contrasts from the high intensity extroverted virtuosity to beautifully phrased melodic work.

Antonio José’s Sonata for Guitar (1933) is one of the major Spanish guitar works of the early 20th century. Written in four movements, it combines Spanish musical character with sophisticated harmony, lyrical melodies, and substantial technical demands. The work was composed for guitarist Regino Sáinz de la Maza and has since become an important part of the modern classical guitar repertoire. This was José’s only work for guitar, composed in 1933. Maurice Ravel apparently said of Antonio José: “He will become the Spanish composer of our century”. You can see my larger post on it here.

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Jinsae Kim 김진세 performs Sonata No. 9 in D Minor by Domenico Cimarosa (1749–1801), originally for keyboard. This comes via Partita Studio in Seoul, Korea on their YouTube channel (go subscribe). Beautifully understated performance by Kim with such calm and solid pacing and rhythmic delivery.

Domenico Cimarosa (1749–1801) was an Italian composer best known for his comic operas but he also wrote keyboard and instrumental music. Although a Classical era composer he is a transitional figure and his keyboard works retain much from the Baroque style.

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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.

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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.

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