Ali Arango shares tips for playing fast, rest-stroke scales. The lesson begins with Arango’s thoughts on the physical movements of the fingers, hand, and wrist and how his approach has changed over the years. Arango then explains the difference between two distinct types of rest-strokes: classic and picado. After discussing how to approach string crossing, Arango demonstrates how to study scales with musical examples including Villa-Lobos Etudes 7 and 12, the Concierto de Aranjuez, Rodrigo’s Zapateado, Bacarisse’s Concertino, and finally Paco de Lucia’s Zyryab. (P.S. Make sure you watch to the end for a special performance!)

On Fast Scales

Ali Arango performs and demonstrates sections from the first movement of Leo Brouwer’s famous Sonata, dedicated to Julian Bream. The lesson begins with Arango describing his initial encounter with the piece which occurred when Brouwer gave him a personal copy of the score. Arango goes on to highlight musical, compositional, and technical aspects of the piece including the piece’s persistent Fandango rhythm, musical quotes chosen by Brouwer, and general techniques for maintaining a stable right hand.

Sonata - Mvt. I (Brouwer)

Ali Arango finishes his series on the famous Sonata by Leo Brouwer with the third movement, “La Toccata de Pasquini.” The lesson begins with a brief background on the piece’s namesake, Bernardo Pasquini. Arango then jumps straight into the opening, breaking down it’s complex rhythmic character and alleviating technical difficulties by providing tips for right hand fingerings and rapid shifting. Other topics discussed include the “cuckoo” quote found throughout the movement and Arango’s concept of “space” dynamics which he employs during the long, arpeggiated sections.

Sonata - Mvt. III (Brouwer)

Ali Arango continues his series on Leo Brouwer’s Sonata by discussing the second movement, “Sarabanda de Scriabin.” Following a performance of the piece, Arango gives an overview of the musical form the Sarabande and plays examples from the music of J.S. Bach and Handel. Arango goes on to share multiple score errors which he discovered after playing this piece for Leo Brouwer himself.

Sonata - Mvt. II (Brouwer)

Italian virtuoso Andrea De Vitis teaches the exciting Fantasia Traviata, based off motifs from Giuseppe Verdi's opera 'La Traviata' and made famous on classical guitar by Francisco Tarrega. After performing the piece in its entirety, Andrea begins the lesson by discussing his preference for Tarrega's version while taking one or two sections from the version by Julian Arcas. Since the debate of who should be credited as the original author may never be settled, Andrea chooses to pick and choose the sections from both versions that he feels represent Verdi's original composition most effectively. The lesson itself is comprised primarily of Andrea walking through each section of the work and sharing, among many things, the fingerings he uses to achieve his desired musical effect. Andrea also touches on several of the specific technical aspects found in the work - including tremolo and harmonics - and describes his approach to developing each.

Fantasia Traviata (Tarrega)

In this lesson Andrea analyzes Francisco Tarrega’s Prelude No. 1, giving advice on its technical execution and sharing musical ideas to bring into your own interpretation. Early in the lesson, Andrea introduces the musical concept of appoggiaturas and demonstrates Tarrega's use of them throughout the piece. He combines this later with an examination of slurs, emphasizing how the two don't always go hand-in-hand. In addition to the technical and musical tips, Andrea also shares some interesting insights to Tarrega's technique as seen through the eyes of his contemporaries and students, in particular Emilio Pujol, who gives us a testimony to how Tarrega’s music should be executed and interpreted.

Prelude No. 1 (Tarrega)

The wonderful “Preludes” of Francisco Tarrega are always refreshing to hear, no matter how many times audiences have listened to them before. Here Andrea De Vitis teaches Prelude No. 2, originally written for his most famous student, Miguel Llobet. In the opening of this lesson, Andrea discusses the influence of Llobet in this work, remarking how it is much more modern and Impressionistic than most of Tarrega’s other compositions. As Andrea points out, this is largely due to the constant modulations and harmonic shifts found throughout the piece. Later on, Andrea demonstrates his technical approach to playing the portamentos by shifting the weight in your left hand as you slide up the neck. He also talks about the importance of physical movement and shows that even when you are playing piano, small movements in the right hand can help project your sound.

Prelude No. 2 (Tarrega)

In this lesson, Andrea González Caballero breaks down one of Tarrega’s best known pieces, ‘Maria’. This short piece is full of opportunities to practice challenging techniques – from barres to chord balancing and more. Andrea goes through each segment of the piece methodically, revealing the technique that glues it together. At the same time, she always prefaces her decisions with a consideration of the pieces’ musical needs. Before she gives any specific directions for the piece, she provides some backstory surrounding Tarrega and the rhythmic inspiration for ‘Maria’. By the end of this lesson, you’ll have experience working on a number of challenging technical devices as well as implementing them musically and cohesively in this small yet complex piece.

Maria (Tárrega)

In this first part of two lessons on Fernando Sor’s Grand Solo, Op. 14, Andrea Gonzalez Caballero plays and shares insights on the exposition. Caballero begins by discussing the different editions published in Sor’s lifetime and goes on to outline the basic sonata structure. In her walk through of the piece, Caballero shares insights on technical aspects such as right and left hand preparation as well as musical ideas related to phrasing, color, and tempo.

Grand Solo - Part I (Sor)

Andrea Gonzalez continues with the second part of her breakdown of Fernando Sor’s masterpiece Grand Solo. The lesson picks up at the Development and works its way through the extended Recapitulation to the end. Along the way, Gonzalez discusses various interpretive aspects related to color, articulation, dynamics, etc. and provides technical tips for the challenging sections of the piece.

Grand Solo - Part II (Sor)

In this lesson, Andrea González Caballero breaks down Serenata Española, a piece written for piano
by Joaquin Malats, and arranged by Francisco Tarrega for guitar. She jumps straight into the music, suggesting fingerings that carry the correct musical intent and how to choose the proper tempo. The melodies in this piece are very vocal, and Andrea consistently refers back to the importance of both separating the melody from the accompaniment and adhering to the rules of rubato. Likewise, like a vocal line, certain notes are more important than others, and deserve special attention with articulation and dynamics. Finally, Andrea discusses how to treat repetitions of similar musical elements as well as how and where to shift efficiently. By the end of this lesson, hopefully you’ll be inspired and prepared to tackle this difficult yet highly rewarding piece in the guitar repertoire.

Serenata Espanola (Malats)

Aniello Desiderio discusses sound production and the development of your own “voice” on the guitar. The lesson begins with Desiderio’s thoughts on the importance of creating a personal sound and how this facet of your playing comes “before everything.” This is followed by a general overview of effective nail shapes and how to use sandpaper for polishing. After demonstrating several exercises, Desiderio concludes with his thoughts on slow practice and the significant role control plays in developing your technique.

On Sound Production

Anton Baranov discusses three fingered (A-M-I) scale technique and demonstrates its application to pieces in the classical guitar repertoire such as Sor’s Variations on a Theme by Mozart and Torroba’s La Seguidilla. Baranov’s lesson goes on to cover scales that combine both two and three finger approaches such as those found in Ponce’s Concierto del Sur and Parga’s Recuerdos de Sevilla.

On A-M-I Scales

Anton Baranov discusses the use of different types of barres and demonstrates them in the context of Federico Moreno Torroba’s “Alba de Tormes” from the suite Castillos de España. The lesson begins with several famous excerpts from the repertoire that use unconventional barres including Manuel Ponce’s Concierto del Sur, Mauro Giuliani’s Grand Overture, and Emilio Pujol’s El Abejorro. Baranov then performs and walks through the brief Torroba piece to showcase the alling of different types and how one can use this piece to practice them.

On Barre

Anton Baranov teaches the famous Caprice No. 7 by Luigi Legnani. The lesson begins with his thoughts on the importance of Legnani’s 36 Caprice’s for developing one’s technical and musical abilities. Then, Baranov walks through each section of the piece, giving detailed demonstrations on various topics including block practicing, varying repetitions, and bringing out hidden voices.

Caprice No. 7 (Legnani)

In this primer on Contemporary Music for the guitar, Arturo Tallini presents a basic analysis of several pieces and discusses their impact on the development of music. The past sixty years contain a breadth of different musical languages, many of which deviate substantially from classical traditions. Tallini introduces pieces that slowly become less and less familiar, discussing the cultural context and the musical practices that are being questioned and transformed. Many pieces seek to represent ideas, emotions, or even man-made objects in new and unique ways, often requiring the performer to develop an enhanced attention to detail. Elements are taken from vastly different musical styles, and often, the performer is given the task of creating a piece from a score that contains only fragments of a melody. Performing and listening to non-traditional music is often challenging, but it allows for both the maturity of the artist and deeper understanding of the thoughts of other human beings. Good luck, and get ready to rethink how you approach playing the guitar!

Introduction To Contemporary Music

In this lesson on Capriccio Diabolico by Mario Tedesco, guitarist Artyom Dervoed goes into detail about the many key interpretative and technical elements necessary to execute this piece successfully. Throughout, Artyom stresses the importance of knowing the origin, climax, and end point of phrases and the use of tempo and dynamics to bring the phrase to life. While the video lesson contains highly valuable fingerings, Artyom shares so much wisdom about mood, tempo, and individual interpretation that fills this outline with a solid dose of inspiration. As Artyom moves through each section of the piece, he always asks how his technique can better serve the phrase. Finally, as a conclusion, Artyom enforces the importance of finding the elements that resonate for you with any style of music. Hopefully you find this to be an engaging and insightful lesson on a highly popular piece in the guitar repertoire!

Capriccio Diabolico (Tedesco)

In this lesson Artyom Dervoed explores Luigi Legnani's lively and technically brilliant Fantasia, Op. 19. From the first mysterious moments of the piece, Artyom guides you through the process of how to approach the technical difficulties presented and how to approach developing your own interpretation of the piece.

Fantasia Op.19 (Legnani)

Etude Op. 60 No. 23 by Matteo Carcassi has been one of Bahar’s favorites for many years. It’s fast and exciting, full of opportunities to work carefully on left hand technique. This lesson will focus on slurs, high-speed shifting, and phrasing in harder passages. Mastery of this piece opens the door for more difficult slurs and gets your feet wet with up-tempo etudes. This etude is short enough to be repeated over and over again in a practice session, making it an excellent study to help you build your stamina. Additionally, Bahar provides lots of helpful advice for general practicing etiquette – how to develop basic coordination in your left hand, how to memorize a piece, and how to go about practicing to play fast!

Etude Op. 60 No. 23 (Carcassi)

Bahar Ossareh gives an in-depth overview on memory and shares effective methods for memorizing a piece of music. After an explanation of how memory works, Ossareh begins discussing the different types of memory - which include visual, auditory, and muscle memory - and ways of developing each. At the end, Ossareh talks about other factors that effect memorization such as sleep and shares tricks students can use to ensure their memory is secure before a performance.

On Memorization

In this first part of her series on sound production, Bahar Ossareh discusses nail length, shape, and tools for maintenance. After a brief introduction featuring a sample of Squares Suspended by Andrew York, Ossareh jumps into the topic of nail length and the proper way to measure. The lesson continues with a look at four different tools one can use to shape and maintain the nails. After a brief look at possible nail shapes, Ossareh finishes her look at nails with a demonstration of the three steps she takes to do her own nails.

On Nails

In this lesson, Bahar walks you through Fernando Sor's etude Op. 35 No. 17. This study is also known as study number 6, from Andrés Segovia's renumbering. Bahar challenges you to think about this piece not just as a study, but as something to play and enjoy. She also goes over some of the technical challenges presented in this study, such as playing upbeats, sustaining lines, and balancing voices. In part 5, she dedicates a portion of the lesson to demonstrate different fingering suggestions which allow for a singing, melodic quality throughout.

Study Op. 35 No. 17 (Sor)

Bahar Ossareh continues her series on the right hand with a detailed look at all the factors that go into producing a full sound on the guitar. The primary factors discussed in this lesson include the combination of flesh and nail that touches the string when you play, the position and angle of your right arm and hand, the angle and direction of your stroke, and the curvature of your wrist. In addition, Ossareh gives several examples of exercises you can try on the path to developing your own personal sound.

Bahar Ossareh finishes her three-part series on the right hand with an examination of the thumb and how the length, position, and stroke all affect the sound you produce. Bahar begins the lesson by drawing out the four primary thumbnail shapes that one should work off to find what is best for them. Later in the lesson, she shares a method for deciding on the optimal length for your thumbnail. Other ideas covered in this lesson include moving from the proper joints, alling flesh and nail to avoid the “clicking” noise, and creating different timbres.

On The Thumb

Benjamin Verdery teaches his arrangement of Adagio K.540 by Wolfgang Amadeus Mozart. The lesson begins with Verdery’s thoughts on interpreting dynamic markings and how it’s important to “take the character of the general dynamic they are in.” In the next part, Verdery demonstrates helpful aspects to be aware of when phrasing a line. Towards the end, Verdery discusses the technical concept of stretching and ways of achieving a particularly large stretch using ideas taken from the Alexander Technique.

Adagio K.540 (Mozart)

In this lesson, Benjamin Verdery shares insights on his own composition Start Now. As Verdery explains, this piece is primarily a study on rhythm, so he begins the lesson by breaking down the origins of the rhythmic character of the piece. Later on, Verdery demonstrates the middle percussive section and gives tips for achieving the sounds he imagined while composing.

Start Now (Verdery)

This is the third installment in a 3-part historical series where Stephen Goss and Laura Snowden uncover the compositional and interpretive details inside one of the greatest pieces written for the classical guitar, Benjamin Britten's 'Nocturnal after John Dowland, Op. 70.' In this segment, renowned composer and guitarist Stephen Goss breaks down the compositional details he has uncovered from years of research on the piece. Sitting in the very room where the 'Nocturnal' was composed, Goss discusses Britten's use of motive and metaphor in his compositional process, and explores the piece's intimate connections with Dowland's song, Come Heavy Sleep. He reveals the musical complexity and richness that makes this piece one of the most important contemporary compositions for the guitar.

On Britten's Nocturnal

Bill Kanengiser is back with his trusty monochord to demonstrate ways of achieving maximum left hand efficiency. The lesson begins with a look at left hand pressure and what Kanengiser refers to as the “thunk, buzz, note” exercise. Kanengiser then pulls out his monochord to show how shock waves travel down the string and cause notes that aren’t pressed down sufficiently to buzz. Some of the other topics addressed include where in the fret you should press, how “hugging” the guitar can improve your hand's stamina, and ways the right hand can actually increase the overall efficiency of the left.

On Left Hand Efficiency

In this lesson, Bill Kanengiser discusses vibrato and common misconceptions regarding how it is actually produced on the guitar.  Kanengiser uses a large “mono-chord” prop to help students understand how to effectively execute this instrument defining technique.

On Vibrato

Carlo Marchione shares examples of proper accentuation in J.S. Bach’s monumental work, the Chaconne. The three aspects affecting accentuation in these instances include articulation, harmony, and hemiola. Follow along as Marchione demonstrates occurrences of all three.

Chaconne (J.S. Bach)

Carlo Marchione discusses stage fright and offers tips for overcoming this common hinderance. Some of Marchione’s recommendations include changing the mindset from being “nervous” to “excited,” making sure repertoire is technically realistic, and organizing regular performances outside of school or conservatory.

On Conquering Stage Fright

In this lesson, Carlo Marchione shares insights on Fantasie Elegiaque Op. 59 written by Fernando Sor. The primary topic covered in this lesson is Sor's extensive use of rhetorical figures and their connection to a five-part ancient funeral speech.

Fantasie Elegiaque (Sor)

Carlo Marchione discusses the prevalence of polymeter and polyrhythm in compositions for classical guitar. Musical examples range from works by Ponce, Turina, Dowland, Bach, and many more. For each excerpt, Marchione explains the details of what is happening rhythmically and then demonstrates it on the guitar. The lesson concludes with Marchione’s general suggestions for uncovering rhythmic abnormalities in pieces throughout the repertoire.

On Polymeter & Polyrhythm

Celil Refik Kaya walks through Cataluña by Isaac Albeniz, pointing out important musical and technical aspects one should be aware of when studying this piece. Kaya particularly addresses the harmonic movement throughout and how it affects the dynamics, direction, and overall character of the piece.

Cataluña (Albeniz)

Celil Refik Kaya shares his insights on Danza Paraguaya No. 1 by Augustin Barrios. Some of the ideas covered in this lesson include bringing out the alternating strong and weak measures, handling certain technical difficulties, and choosing dynamics based on the melodic shape.

Danza Paraguaya (Barrios)

Celil Refik Kaya shares his insights on Fernando Sor’s Study No. 17, as numbered in Segovia’s edition. Although this piece is viewed primarily as an arpeggio study, Kaya focuses on bringing out the constant harmonic motion outlined by appogiatura’s in the melody and dominant to tonic relations throughout.

Study No. 17 (Sor)

Celil Refik Kaya shares insights on J.S. Bach’s masterpiece for piano, the Goldberg Variations. Kaya begins with the Aria, demonstrating the piece’s distinct galant style and how one should bring out its characteristic qualities in their interpretation.Variations covered in this lesson include 1, 5, 7, 10, 21, and 18 which Kaya plays in that order. Technical aspects discussed include the importance of maintaining a light left hand and implementing slow practice when learning this piece.

Goldberg Variations (J.S. Bach)

Learn one of the classical guitar repertoire’s most iconic pieces - Koyunbaba by Carlo Domeniconi - taught here by Turkish-born virtuoso Celil Refik Kaya. In this lesson, you will discover the cultural origins of the piece which Celil traces back to a Turkish folk instrument called the Bağlama. While walking through the composition, Celil points out particular motifs that are commonly found in Turkish music and demonstrates the proper way to play them. For the fast-paced ending, Celil breaks down the fingerings and philosophies he uses to make the technical challenges more manageable, including where to look when making large jumps and how to achieve the right sound for the tapping technique known as “Şelpe.”

Koyunbaba (Domeniconi)

Celil Refik Kaya walks through each section of Prelude in C minor by Agustín Barrios Mangoré. As Kaya points out at the beginning of the lesson, the piece is heavily influenced by the style of Chopin both in its arpeggiated contour and overall progression. To demonstrate this, Kaya explains the harmonic significance of each measure and how its quality affects one’s overall interpretation.

Prelude in C minor (Barrios)

Celil Refik Kaya shares his ideas for interpreting Heitor Villa Lobos’ Prelude No. 4. The primary focus of the lesson relates to topics on effective phrasing and use of color. Kaya also touches on technical aspects such as vibrato, string noises, and harmonics.

Prelude No. 4 (Villa-Lobos)

Celil Refik Kaya walks through Matteo Carcassi’s Study No. 3, Op. 60, addressing basic aspects such as the role harmony and chromaticism play in deciding dynamics, the proper interpretation of appoggiaturas, and the grouping of phrases. Along with these musical aspects, Kaya also touches on techniques such as right hand planting and the use of rest stroke to accent important notes.

Study No. 3, Op. 60 (Carcassi)

Celil Refik Kaya demonstrates and teaches the three distinct sections of Agustin Barrios’s famous Vals Op. 8 No. 3. Kaya begins the lesson by discussing the European origins of the “waltz” style and the influence of Chopin on this work in particular. After a full performance of the piece, he begins working through each section, sharing both musical and technical ideas such as proper execution for clear harmonics, ways of distinctly separating voices, and how to vary a section that is constantly repeating.

Vals Op. 8 No. 3 (Barrios)

In this lesson, Celil Refik Kaya walks through his arrangement of Enrique Granados’ masterpiece, Valses Poeticos, originally written for piano. In each waltz, Kaya demonstrates his many creative musical and technical solutions which allow this piece to be performed effectively on the classical guitar.

Valses Poeticos (Granados)

In this lesson Colin Davin teaches Fernando Sor's Study Op.31 No.16, also known as study number 8 from Andrés Segovia's renumbering. Colin begins the lesson by showing how splitting the diffent voices will help you shape each more effectively. He discusses left hand independence, and how to break down the particularly difficult sections to practice. He explores the editorial differences and then concludes the lesson with a discussion of what options you have when it comes to choosing slurs in this particular study.

Study Op.31 No.16 (Sor)

In this lesson Colin Davin teaches Fernando Sor's Study Op.31 No.19, also known as study number 10 from Andrés Segovia's renumbering. Colin begins by outlining the primary concepts in the piece for both the right and left hands, and hten discusses the differences between different versions. He continues the lesson by guiding you through the most difficult sections, disccing harmonic shaping, phrasing, and analysis. Colin concludes the lesson by explaining how the study can benefit your overall playing.

Study Op.31 No.19 (Sor)

In this lesson Colin Davin teaches Fernando Sor's Study Op.31 No.20, also known as study number 9 from Andrés Segovia's renumbering. Colin begins the lesson by highlighting the Gavotte-like nature of the piece, and discussing voicing and the precision necessary to bring them out. He focuses on balance and the particularly difficult sections for each hand, highlighting some of the particularly challenging measures within the piece. Colin concludes the lesson with a discussion of the articulation, independence, and control that this study requires.

Study Op.31 No.20 (Sor)

In this lesson, Colin Davin teaches Fernando Sor's Study Op.6 No.3, also known as study number 11 from Andrés Segovia's renumbering. Beginning with some advice on how to warm up for the study, Colin shows how to execute clean, even, rhythmic slurs. He goes on to demonstrate how these concepts can be applied to the study. He isolates particularly difficult sections and gives advice on how to effectively practice each, concluding the lesson with a discussion of phrasing, musicality, and harmonic shaping.

Study Op.6 No.3 (Sor)

Costas Cotsiolis performs and discusses Leo Brouwer’s masterpiece Hika (In Memoriam Toru Takemitsu). After explaining the origins of the name “Hika,” Cotsiolis points out the various cultural influences found in different sections of the piece and proceeds to demonstrate each in a performance of the whole work. The lesson ends with Cotsiolis’s thoughts on the elements of Brouwer’s music in general and his personal relationship with the composer.

Hika (Brouwer)

In this lesson, Danijel Cerovic, member of the world-famous Montenegrin Guitar Duo, teaches the short Baroque composition 'Fantasie', by Sylvius Leopold Weiss. The two sections of the piece contain unique challenges–part one is very legato, requiring careful coordination of the left hand, while part two demands precision in stopping strings with the right hand. As is the case with many Baroque pieces, the performer must be able to account for multiple voices at once and carefully balance the hand accordingly. Danijel shares musical insights on phrasing, dynamics, tempo, and color, and gives advice for how to deepen your understanding and interpretation of the piece.

Fantasie (Weiss)

In this lesson, David Leisner shares his technical philosophies in the context of Heitor Villa-Lobos’ Etude No. 12. Techniques addressed include producing loud, yet relaxed repeated chords, effortless barres, and percussive rasguedos. All of these techniques follow Leisner’s belief in emphasizing freedom of movement over economy of motion, a concept that is further defined in his book, Playing With Ease.

Etude No. 12 (Villa-Lobos)

David Leisner demonstrates sections from Etude No. 8 by Heitor Villa-Lobos. Working primarily from the 1928 Villa-Lobos manuscript, Leisner points out discrepancies in the published edition and explains why he generally prefers the manuscript over the edition. Along with these musical ideas, Leisner also shares his thoughtful approach to technical aspects such as achieving effortless barres and slurs.

Etude No. 8 (Villa-Lobos)

David Leisner breaks down the first of Heitor Villa-Lobos’ famous Twelve Etudes. The lesson begins with Leisner’s thoughts on the importance of working from the 1928 manuscript. This is followed with a detailed look at the mechanics of first the left and then the right hand. In addition, Leisner discusses his approach to slurs, harmonics, and bar chords.

Etude No. 1 (Villa-Lobos)

David Leisner continues his series on Heitor Villa-Lobos’ twelve Etudes with this lesson on Etude No. 10. Working off the 1928 manuscript, Leisner begins by pointing out some of the discrepancies found in the published edition, starting with the opening “Anime” marking. He continues the lesson with a demonstration of the proper movement for the pull-off and hammer-on passages featured throughout the piece. To conclude, Leisner clears up a common rhythmic error found at the end of the piece.

Etude No. 10 (Villa-Lobos)

David Leisner teaches Etude No. 2 from his series on Heitor Villa-Lobos’ 12 Etudes. In the first half of this lesson, Leisner covers the primary musical and technical considerations students should make when learning this piece. Then in the second half, he shares exercises you can try for eliminating neck tension and relaxing your “gaze,” both important aspects for making complex pieces such as this one feel more effortless.

Etude No. 2 (Villa-Lobos)

David Tanenbaum discusses Ensemble Playing and the various aspects one should be aware of when participating in both small and large ensembles. The lesson begins with Tanenbaum’s advice for preparing before the first rehearsal. He then goes on to discuss proper rehearsal etiquette and tips for following a conductor if one is leading the ensemble. At the end, Tanenbaum discusses some technical aspects such as amplification and the significance of properly preparing equipment ahead of time.

On Ensemble Playing

David Tanenbaum discusses the importance of rhythm and uses five selected pieces to demonstrate how a proper understanding of the rhythm improves one’s overall interpretation. Tanenbaum plays examples from Leo Brouwer’s Study IV and El Decameron Negro, William Walton’s Bagatelle IV, Frank Martin’s Air, and Benjamin Britten’s Nocturnal, III. Restless. Along with his ideas on rhythm, Tanenbaum also shares his opinion on the role of manuscripts and whether guitarists should play from the manuscript or the edition.

On Rhythm

David Tanenbaum spent years working personally with Henze, helping him write new works for the guitar and accompanying him on his lecture circuits around the world. This fact makes him uniquely qualified to speak about the music of Henze and specifically the masterpiece addressed in this lesson, Royal Winter Music. Through the course of the lesson, you will learn about each of the characters portrayed across the nine movements and two sonatas that make up Royal Winter Music. Each character, based on the works of Shakespeare, carries a distinct personality that must be portrayed accurately to transmit the power of this intricate work. David shares his knowledge both by personally demonstrating passages on the instrument as well as through clips from his landmark recording of the full work in 2005. Sit back and absorb the fantastic stories and information shared throughout this incredible lesson!

Royal Winter Music (Henze)

In this lesson, Denis Azabagic walks through the first section of Heitor Villa-Lobos’ Prelude No. 1. Throughout the section, Azabagic focuses on demonstrating the proper balance between melody and accompaniment in the right hand.

Prelude No. 1 (Villa-Lobos)

In this lesson, Denis Azabagic discusses the middle section of Villa Lobos’ Prelude No. 2. Azabagic focuses on achieving proper right hand technique and explains how this piece aids the development of one's overall arpeggio technique.

Prelude No. 2 (Villa-Lobos)

Eduardo Inestal teaches one of Francisco Tarrega’s most charming miniatures - the mazurka, “Adelita!” In addition to being a perfect piece for new guitar students, Adelita is also played by artists like Eduardo in professional concert settings. Overall, a piece that can be enjoyed by players of every level! The lesson begins with a beautiful performance from Eduardo, followed by a bit of background on the work and where it derived its name. Afterward, Eduardo walks through each section of the piece, discussing musical and technical aspects such as cutting basses, making the melody legato, and maintaining right hand stability.

Adelita (Tarrega)

Following his lesson on 'Adelita,' Eduardo Inestal continues teaching Francisco Tarrega’s famous miniatures with this lesson on “Marieta.” As Eduardo points out, this charming mazurka gets its name from Tarrega’s daughter Maria (who must have been equally as delightful!) Breaking the lesson into the piece’s two minor and major sections, Eduardo starts by discussing the voice separation found at the beginning of the piece. A common theme throughout this lesson is the importance of cutting notes from ringing longer than their intended length which can be done by either the left or right hand as Eduardo points out. Later on, he demonstrates other technical aspects to this simple piece including ideas related to left and right hand stability and preparation. After watching this lesson, you will be playing this wonderful piece as expertly as Eduardo!

Marieta (Tarrega)

One of the unique challenges of our instrument is that we have to both play and actively *stop* notes, even ones that we didn't pluck in the first place. In this lesson, Eduardo explains when and how you should mute notes in your playing. The lesson is divided into three sections - bass notes, melody notes, and undesired notes. Each section examines a different muting problem and what solutions are available to you as the player. For all three sections, Eduardo clearly describes and plays examples of the problem and then explains several techniques for overcoming them. By the end of this lesson, you will know how to recognize and fix any moments where muting is needed in your own pieces!

On Muting Notes

Eliot Fisk begins this lesson discussing the influence of one of his favorite cities, Granada, on the monumental Homenaje by Manuel de Falla. After a detailed background on its origins, Fisk walks through each section of the piece, comparing Miguel Llobet’s original printed version for guitar with the rare piano manuscript written by de Falla himself.

Homenaje (De Falla)

Eliot Fisk walks through each section of Heitor Villa-Lobos’ famous Prelude No. 1, discussing musical ideas and techniques that help him achieve a more Romantic interpretation like Villa-Lobos himself intended.  Some of the topics covered include the use of portamentos, different vibrato techniques, and using the thumb’s flesh to achieve the desired characteristics.

Eliot Fisk walks through the first half of Domenico Scarlatti’s Sonata K.322. Throughout the lesson, Fisk demonstrates his approach to baroque ornamentation and fingerings which collectively bring out the true meaning of Scarlatti’s music.

Sonata in A Major, K 322 (Scarlatti)

In this mini-lesson, Eliot Fisk demonstrates his method of creating warm up exercises from pieces in his repertoire. In this particular example, Fisk shares a warm up exercise he developed to help learn the complex rhythms of 'Son dementes cuerdas' by Hilda Paredes.

On Warming Up

While there are virtually no rules when it comes to making music, there are many customs that have become standard to Western Classical Music. Identifying and practicing these customs will help you decide how to interpret a piece of music with no markings made by a composer, and allow you to communicate more effectively to an audience. Emmanuel Sowicz identifies a number of basic rules of “musical grammar” and groups them into five general categories. Just as a writer or speaker learns the rules of a language to clearly communicate to others, musicians should study the rules of their language to clearly and effectively express a piece of music. Music is, in this way, discourse, that allows people to communicate and develop one another’s ideas. In this lesson, Emmanuel dives deep into the logic behind this grammar, and uses many examples from great classical guitar composers to develop his ideas. From the physics of harmony and dissonance, to the aesthetic of texture and melody, this lesson covers huge ground in great detail. Finally, Emmanuel breaks down the process of deducing all this information from a score, using a piece by Sor as an example. Hopefully you find this lesson to be a tremendous help as you develop your musicianship and your technique!

On Musical Grammar

In this piece, Chilean guitarist Emmanuel Sowicz analyzes and breaks down the many layers of expression and technique within Scarlatti’s Sonata K.333. Described by Sowicz as “sparkling and light”, this piece develops with a lot of repetition and use of ornaments. Sowicz spends a lot of time discussing various techniques that this piece calls for- cross-string trills, stopping notes, articulation, fingerings in both hands, and finger preparations, among others. Proper interpretation also depends on knowledge of the origin of this piece and the tendencies of Baroque musicians. Sowicz emphasizes many other useful maxims, such as remaining comfortable at all times, and creating a consistent tone across a phrase. By the end of this very thorough lesson, you’ll be inspired and well-prepared to take your Scarlatti to the next level!

Sonata K.333 (Scarlatti)

For this lesson, Emmanuel Sowicz breaks down one of Fernando Sor’s remarkable Etudes and provides deep insight into its interpretation and expression. To begin, Emmanuel explains the historical etymology of sonata form, and how sonatas are all about duality of character. Then, he establishes that the job of a classical musician is like a detective, in that the score only provides subtle clues for the true interpretation. With an emphasis on delineating phrases, Emmanuel dives deep into various techniques and suggestions on how to convey these different characters. These techniques include balance of voices, dynamics, fingerings, and rhythmic elements like syncopation and articulation. Finally, many suggestions come from a recognition of the guitar’s unique qualities, as well as a detailed harmonic understanding of important sections. This lesson will give you an informative look at the process of bringing a piece from a score into performance with taste and finesse. 

Study Op.29 No.17 (Sor)

In his first lesson for tonebase, Russian guitarist Evgeni Finkelstein teaches the first movement 'Gavota' from Nikita Koshkin's Elves Suite. Throughout the lesson, Evgeni highlights the many different characters found throughout this short work. First, he personifies each character, for instance as 'good wizards' or 'mishevious elves.' He then demonstrates the effects on the guitar that help achieve these characters clearly in the mind of the audience. If you don't understand Russian, be sure to hit the English subtitles button in the player so you can experience Evgeni's brilliance for yourself!

Gavota (Koshkin)

Join Evgeni Finkelstein and discover Sergei Rudnev’s arrangement of the Russian Folklore song 'Lipa Vekovaya' (The Old Lime Tree). Having worked on the piece with Rudnev himself, Evgeni provides his personal insights into its interpretation, and shares what knowledge he acquired about the piece while studying with Nikita Koshkin. The lesson begins with a brief introduction to the history of the composition. Evgeni then shares some key interpretive ideas, mainly the importance of the lyrics of the song, the pulse of the piece, balance between the supportive texture and the melody, and connection in the melodic line. After giving his more general thoughts and advice, Evgeni delves deeper into the different sections of the piece, paying close attention to the more interesting or difficult passages. Evgeni's lesson gives an excellent overview of the beautiful Lipa Vekovaya and has great advice on interpretive principles that can be applied to other song transcriptions as well.

The Old Lime Tree (Rudnev)

Frederic Hand teaches his beautiful composition, Missing Her. After walking through the first section of the piece, Hand shares his approach to the improvised middle section of the piece and breaks down steps that students can use to learn improvisation.

Missing Her (Hand)

Frederic Hand walks through his beautiful composition Prayer, originally a duo piece later arranged for solo guitar. Throughout the lesson, Hand touches on important interpretive points that students should be aware of when learning this piece.

Prayer (Hand)

Gabriel Bianco teaches a true gem of the French classical guitar repertoire - Napoleon Coste’s Les Soirées d'Auteuil. The lesson focuses primarily on the different characteristics portrayed throughout the work and how to effectively connect them throughout your interpretation. In addition to the musical focus, Gabriel also shares his approach to a particular virtuoso technique he is well-known for… the one finger scale! Gabriel teaches it in the context of a descending chromatic scale that appears at the end of the piece.

Les Soirées d'Auteuil (Coste)

Gabriel Bianco walks through the first piece Mario Castelnuovo-Tedesco ever wrote for the guitar: Variations Through the Centuries. Bianco begins by giving the background and discussing the overall character of the piece. The lesson continues with musical demonstrations and in depth discussions of each movement. Some of the primary topics in this lesson include dynamic phrasing, separating the melody and accompaniment voices, finding expressive fingerings, and reflecting the proper character in one’s interpretation.

Variations Through the Centuries (Tedesco)

In his first lesson for tonebase, Gian Marco Ciampa teaches his favorite of the twelve etudes by Heitor Villa-Lobos, Etude No. 4. Gian Marco begins by introducing the piece and discussing Villa-Lobos's inspiration for this work: the cello. To mimic the sustain of the bowed instrument, Villa-Lobos used repeated chords and long melodic lines. Therefore, the majority of Gian Marco's lesson revolves around bringing this cello-like effect to life using well-thought-out dynamics and careful phrasing of the harmonic passages. In addition to these musical ideas, Gian Marco also shares his technical approach to playing the endless string of repeated chords without excess tension.

Etude No. 4 (Villa-Lobos)

In this lesson, Italian virtuoso Gian Marco Ciampa introduces the somewhat unique technique of using the left hand thumb to fret notes. He begins the lesson by demonstrating a number of examples from existing repertoire where using the left hand thumb would be helpful. After, he shares a set of five progressive exercises to help us get familiar and comfortable with the technique. With fascinating and informative insights into a technique unknown to many guitarists, this lesson provides a wonderful introduction for players at any level.

On Left Hand Thumb

Join award winning soloist Giulia Ballare as she examines An Malvina by Johann Kaspar Mertz! She analyzes the piece in detail, revealing her interpretation, practice tips, and fingerings. Giulia explains the structure of the piece and demonstrates how to perform each moment in the most beautiful and tasteful manner. This lesson gives us excellent insights into the musical aspects of the An Malvina, while also providing us with practical solutions for technically difficult sections!

An Malvina (Mertz)

Even if you have nails as hard as horse hooves, it’s important to know how to repair or rebuild a nail from scratch so you are ready when disaster strikes! On the other hand, if you are someone who is constantly struggling with your nails, learning to create and play with fake nails might dramatically change your life. Either way, it is an invaluable skill to have as a dedicated classical guitarist. Giulia Ballare has been using fake nails exclusively for over 10 years. In this lesson, she demonstrates the two primary methods to create a fake nail (one using acrylic powder and the other using a plastic tip) as well as how to quickly fix a broken one.

On Fake Nails

Transport your audiences back to the streets of Spain with Joaquin Turina's 'Sevillana,' taught here by virtuoso Giulia Ballare! Throughout the lesson, Giulia will help you take your overall interpretation of this piece to the next level by giving you a better understanding of the various sections and their individual characteristics. In addition, Giulia shares several exercises for developing the necessary techniques (rasgueados, vibrato, etc.) to really master this work. Along the way, Giulia also discusses the differences that can be found in the original manuscript and the published edition by Andres Segovia. Overall, this lesson is a must-see for any Spanish guitar enthusiast!

Sevillana (Turina)

Gohar Vardanyan walks through each section of Isaac Albeniz’s “Córdoba” from Chants d'Espagne, originally written for piano. A few of the many musical aspects discussed include using rubato effectively, balancing the melody and accompaniment, and deciding which arrangement to use. Vardanyan also offers a technical alternative to the rasgueado section in the middle with the use of arpeggios instead.

Cordoba (Albeniz)

Gohar Vardanyan walks through Invocation et danse by Joaquin Rodrigo and shares insights from the different sections of the piece. The masterclass begins with a brief background on the influence of Manuel de Falla’s 'El Amor Brujo,' followed by Vardanyan’s reasons for using the Alirio Diaz arrangement as opposed to the Pepe Romero. Throughout the class, Vardanyan offers solutions to both musical and technical difficulties which are numerous in this challenging piece.

Invocation Et Danse (Rodrigo)

Gohar Vardanyan teaches Isaac Albeniz’s “Sevilla” from Suite Española No.1, Op.47. The lesson begins with a demonstration of the Sevillanas rhythmic form which the piece is based off. Vardanyan then proceeds to walk through each section of the piece, sharing musical and technical strategies along the way.

Sevilla (Albeniz)

In this lesson, Gohar Vardanyan shares musical and technical insights on Augustin Barrios’ Un sueño en la floresta. Vardanyan begins by discussing the technical aspects one must master to play this piece - namely tremolo and left hand flexibility. One tip Vardanyan suggests for developing tremolo is practicing a series of combinations in the right hand along with the familiar P-A-M-I pattern. Vardanyan then walks through each section of the piece indicating important musical moments and ways of interpreting the music.

Un Sueño En La Floresta (Barrios)

In this lesson, Goran Krivokapic demonstrates sections of Joaquin Rodrigo’s “Fandango” from Tres Piezas Espanoles and points out discrepancies between the printed edition and Rodrigo’s manuscript. Along with these insights, Krivokapic also shares his approach to achieving smooth, arpeggiated chords and gives musical examples to help students understand the featured Fandango rhythm.

Fandango - Pt. I (Rodrigo)

In part two of his series on Joaquin Rodrigo’s Fandango, Goran Krivokapic focuses on a technical issue encountered in this piece: slurs. Along with offering advice for executing one particularly difficult passage, Krivokapic also provides several general exercises students can use to help them master this technique.

Fandango - Pt. II (Rodrigo)

In this exclusive interview in NYC's Central Park, Ben Verdery shares his thoughts on starting as an electric guitarist playing rock music and how that has made him the guitarist he is today. In addition, Verdery discusses his musical influences, role models and his unique perspective on the classical guitar.

Interview With Ben Verdery (NYC, 2017)

Costas Cotsiolis sits down with Sabrina Vlaskalic at the First European Guitar Concerto Competition. The interview begins with an overview of Cotsiolis’ early life growing up in Greece and the lack of resources for a developing classical guitarist at the time. Other topics discussed include his close relationship with Leo Brouwer, his experience performing over 40 concertos throughout his career, and his thoughts on the future of the classical guitar.

Interview With Costas Cotsiolis (Groningen, 2017)

David Leisner welcomes tonebase into his beautiful Manhattan apartment for an insightful interview on a range of topics. Leisner begins by describing the role of music in his upbringing and his natural path to the classical guitar. This is followed with an in depth discussion of Leisner’s experience with focal dystonia and how his journey to understand it has made him a leading expert. His forty years of research on this subject will soon be available in a new book, 'Playing With Ease', set to be released in early 2018.

Interview With David Leisner (NYC, 2017)

In this exclusive interview, David Tanenbaum sits down with Igor to discuss his musical upbringing, personal motivation to commission new works, and core teaching philosophies. Tanenbaum finishes with a quick rundown of the incredible guitars housed at the San Francisco Conservatory as a part of the Harris Guitar Foundation.

Interview With David Tanenbaum (San Francisco, 2017)

In this interview, Igor from tonebase sits down with Maestro Fisk to discuss his opinion on competitions and how he tried to make the Boston Guitar Fest stand out from the rest. In addition, Fisk shares tips for students on starting a career and where to look for inspiration.

Interview With Eliot Fisk (Boston, 2017)

In this exclusive interview, Frederic Hand shares his thoughts on developing fretboard knowledge as well as specific ways students can learn to achieve “flow” in performance. Along with this advice, Hand also talks about his unique opportunity to study with Julian Bream in England as a Fulbright scholar.

Interview With Frederic Hand

In this interview acclaimed artist and pedagog Hubert Käppel discusses his ideas on teaching, competitions, and more. With insights into writing his method books, choosing programs, and judging competitions this interview gives unique insights into one of the great minds of the classical guitar today.

Interview with Hubert Käppel (Germany, 2019)

In this exclusive interview, Igor from tonebase sits down with Jiyeon Kim (Jiji) in Brooklyn to discuss her recent appointment to the faculty of Arizona State University and future career aspirations. Other topics discussed include her process for choosing repertoire, curating her artistic image, and commissioning new works for guitar.

Interview With Jiji (Brooklyn, 2018)

In this exclusive interview at the Hersbruck Guitar Festival, Johannes Kreusch shares insights on his objectives as a festival director and ways he tries to set his festivals apart. Kreusch goes on to talk about his background as a guitarist and composer as well as the influence of improvisation in his works. The interview ends with a discussion about ways students can learn to think outside the “guitar-box.”

Interview With Joahnnes Tonio Kreusch (Hersbruck Guitar Festival, 2017)

In this exclusive interview, Judicael Perroy shares thoughts on his recent move from Paris to San Francisco and how things for the most part haven't changed. In addition, he shares his unique process for learning a new piece, his thoughts on what makes for a good teacher, and much more.

Interview With Judicael Perroy (San Francisco, 2017)

This is the second installment in a 3-part historical series where Stephen Goss and Laura Snowden uncover the compositional and interpretive details inside one of the greatest pieces written for the classical guitar, Benjamin Britten's 'Nocturnal after John Dowland, Op. 70.' In this interview composer Stephen Goss is joined by Snowden who shares her experience studying the work with Julian Bream – the commissioner and dedicatee of the piece – and how his tutelage influenced her own artistic interpretation. Laura's insights provide us with a window into the experience of working with one of the most well know and respected guitarists of the past 100 years.

Interview with Laura Snowden (Aldeburgh, 2019)

While we were in Cuba filming lessons with Leo Brouwer, we also took the opportunity to sit down and ask some of the burning questions we as guitarists ourselves had always been dying to know. Why does Brouwer’s music stick out so distinctly from that of his contemporaries? How does the Maestro hear his music and intend it to be played? What path should young, inspired musicians take to pursue as successful a career as he has achieved? In the course of talking to him, the Maestro also shares details about his musical upbringing and his life in the United States while studying composition at Juilliard. Later, he talks about returning to Cuba and establishing the film and radio culture of the country during the rise of Fidel Castro. Enjoy this deep and inspiring conversation with one of the classical guitar’s greatest treasures!

Interview With Leo Brouwer (Havana, 2018)

Igor joins Manuel Barrueco in his office at Peabody University for an insightful conversation about his life experiences growing up in Cuba, moving to the United States, and studying with Aaron Sheaer. In addition, Barrueco shares his thoughts on career develop and the path that led him to an incredibly successful career as a performing musician.

Interview With Manuel Barrueco (Baltimore, 2018)

In this interview, one of today’s foremost classical guitarists Marcin Dylla discusses everything from the beginning of his career, to his insights on competitions and the culture surrounding them. The conversation gives you special insights into Marcin’s development as an artist and reflections on his career. Whether you’re interested in hearing about Marcin’s thoughts on recordings, work life balance, or his discussion of performing Britten’s Nocturnal for an audience unfamiliar with classical guitar, this interview will provide you with fascinating insights!

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