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by Christopher Davis Like any other instrument, classical guitar music is written on a staff. There are great resources all over the web that teach and train reading on the staff. Notation reading should be fluent and effortless. Starting from the bottom line of the staff, a sentence can be used to figure out each of the notes on the lines. ―Every Good Boy Does Fine‖ is the most common sentence. ―Even George Bush Drives Fast‖ is another. A young student came to me and he had made up his own sentence, ―Elmo Gave Barny Dead Fish‖
The spaces spell a word from bottom space to top: FACE.
With these tools a beginning player SHOULD NEVER GUESS the note which they are going to play. It’s not about putting your fingers down and hoping, it’s about knowing. That means at the beginning stage of reading music, one should talk through the sentences or words if need be and know the notes. Often time students have a disassociation between the actual note names and where to put their fingers. Their intellectual concept of the staff is well developed but their muscle memory is not. The key is to train both at once. This can be accomplished very simply by saying the note names aloud while playing them. This works well playing melodies but fails with polyphonic music. Practice reading individual melodies, in multiple positions on the guitar, first.
Letters and Strange Markings… In addition to all the standard notation stuff. For the right hand (RH) we use letters: p=RH thumb i=RH index . To notate left hand (LH) fingering. classical guitar music has some very specific things that go on in it. we use numbers: 1=LH index 2=LH middle 3=LH ring 4=LH pinky To those former pianists (recovering pianists?) this can be a bit confusing as the thumb is normally considered 1.Numbers.
If you’re still a college or graduate student check out your school library website. It’s also possible that some markings or words are indications of special or extended techniques. but most pieces of music will have a legend or key for those markings. articulation and dynamics. but sometimes a ―c‖ pops up. Here is an online dictionary of music terms for your reference.m=RH middle a=RH ring c=RH pinky Most times the pinky is not used on the right hand. The other strange markings or words are going to be musical instructions on things such as tempo. It can also be helpful to have a reference around like The Harvard Dictionary of Music. Most schools will have .
But there’s no way around it. Good luck! and happy reading! Goal Oriented Guitar Practice by Christopher Davis . With all the free music (check out the links page for some websites) floating around on the web. The key to getting better at reading is doing more of it. there should be no shortage of music to read. A lot.online access to the Grove Dictionary of Music and Musicians which is a tremendous resource. Which sucks. A book of jazz licks can also be a great way to practice reading: just play the lick in multiple positions.
but that’s another blog entirely. but I’m not a huge fan of practice schedules. A lot of folks out there think they need absolute structure to their practice time: 10 minutes arpeggios 20 minutes scales 30 minutes etudes 5 minutes checking cell phone 20 minutes repertoire There’s only question to ask yourself: are you improving? If yes. continue with current practice routine. . If no. why? Lack of improvement could be any number of things.See a more updated version of this theory: Goal Oriented Guitar Practice (revisited) I’ve mentioned this before.
I believe that musicians should have a time only schedule. That is, “practice X hours/day.” This leaves a lot up in the air. Some time should certainly allocated to technique. I like to do that right away in the morning, for about a half hour–this is more to prepare my hands for the rest of the day than anything. After that I have a series of small goals to accomplish throughout my practice. We often have the difficult sections of a given piece marked, or the parts that give us trouble blocked off in our minds. So work on them! Make it a goal for a unit of practice to perfect a small portion and reinsert it back into the context of the piece. I tried writing these goals down in a sort of practice journal, but I work better with the mental list
instead. However, a practice journal can be a useful tool. This allows a lot more flexibility than a strict schedule, and keeps practice interesting. And it works! What’s your practice routine look like?
by Christopher Davis I’m writing about this because I’m terrible at it. Sometimes it’s really easy to get caught up in the flow a piece and just keep going every time it’s practiced. The reality is that if mistakes are practiced each time, mistakes will happen in performance. The goal of
practice time should be to play something perfect each and every time. If that means that something has to played slow or you have to use stop and go practicing, do it! Above it all it’s about simplifying and breaking down. If you have an arpeggio passage with a rough chord change, don’t attempt to work on the chord change with the RH pattern. Just work the chord change first until it’s very secure, do the same with the right hand pattern, then put them together. Practice perfectly, and make less mistakes in performance!
Self Teaching for the Classical Guitar
relying on the various resources out there to help them progress. Many people choose the path of self instruction. Ask questions! Listen to and watch other people of your same level. There’s many avenues available to do this. Talk to Other Classical Guitarists While lessons are the best bet for developing a sound technique and sense of musicality. just informally chatting with other classical guitarists can help. One of them is a guitar or classical guitar forum. Here’s a few tips that might help.by Christopher Davis Sometimes it’s hard to find a teacher and sometimes it’s not financially possible to take a lesson every week. A lot. .
Start with the lowest level! While it’s tempting to jump in feet first. If you’re self teaching. learning the guitar requires a lot of brain power be devoted to how the hands are moving. If a piece is too hard.Repertoire Choice is King One of the best things a teacher can do is give you repertoire that’s at your level of ability. The Royal College Music guitar series books are another great way to have access to a bunch of carefully graded repertoire. you have no guidance in repertoire choices. Many free sheet music sites (including the ones on the links page) have some grading system available. Working from a method book (see below) is another great way to have graded repertoire. chances are all . asking on a forum or asking a friend is a great way to get some advice on where to start. However.
Slow Down It’s exciting to play the guitar! but please. there’s the technique. Other than the musical aspects. Other than that. I tell my students this all the time. Keeping your wrist generally straight is the foundation of guitar technique.your time will be spent simply trying to get the notes. slow down. Play it perfectly slow rather than screw it up all the time. Does the piece sound like you want it to? Why? How can you make it sound that way. LH on the fingertips–fingers 1 and 4 will be slightly on . Honest Self Evaluation Teaching yourself requires some very honest self evaluation.
Listen! With out a teacher guiding you on the musical aspects of a piece. it become increasingly important to do more listening. . What does that LH do when I move to this chord? Is it working? Try different things! Choose the thing that works the best! And be sure to keep that observation for the next time a similar situation comes up.their outside edges. fingers 2 and 3 are more straight on–and RH is mostly about just keeping at the knuckles moving in the same direction. It’s the ability to think critically about what your hands have to do. is not any set of rules about either hand. The thing that will take you furthest. however. You can see a bit about RH technique on my youtube page.
Methods are strange creatures. The Aaron Shearer method as been around a long time. keep it. Pumping Nylon is another good one. It’s also possible to work out of a method book for repertoire choices and technique advice. try to listen to piece that you are playing. Mimic the performers. and is full of very precise technical . then decided if you like what they did. this book has some great stuff in it. Some move fast and some move slow. If yes. If no.Specifically. Read Read a lot of stuff about classical guitar. Also. Method books are a great place to start. throw it out. Below is an amazon store with some of the available methods.
but in such a way that is just about right for beginners. . There are many more methods out there. I do think that it’s popular for a reason: it’s pretty good. and a lot of supplementary pieces at the end of the book. A lot of people like this method! I have this method but don’t use it with students. The Christopher Parkening method contains some good music. but at a certain point gets too hard for most beginners. but almost any will work at the beginning. The Frederic Noad ―Solo Guitar Playing‖ method is long and slow moving. Mel Bay’s Classical Guitar Method by Stanley Yates is the method I use with my students. so some supplementary materials may be needed. Generally it moves pretty slow. Tons of music.instructions in part one. The music is in part two. Note reading is not emphasized as much in the Yates’ method.
it’s like a job — part of their professional music career or a serious hobby. Most of the articles you’ll find here are about practicing more efficiently and practicing better. Then taking those goals and breaking them up into actionable steps: what piece should have you . That’s where the Classical Guitar Blog can help. chances are you don’t have enough practicing time. For others. Whether you’re in either boat or somewhere in the middle.Guitar Practice Tips For some guitar practice is a time to de-stress and unwind. Goal Oriented Guitar Practice Goal Oriented Guitar Practice is about setting long term performance goals.
others they don’t. chances are you notice some inconsistency during your practice time. Some days things work. This is the overarching philosophy behind all guitar practice posts here on the Classical Guitar Blog. The good news is the . Dealing with Practice Inconsistency If you haven’t been playing long.learned by when? Then we get into the daily goals — what should you practice every day to accomplish your long term goals? Daily goals come from your practice log in which you write down both what you did during a given practice session and your ideas about practicing and how to improve a given passage.
You have to believe that what you’re doing is going to work in the long term. try to evaluate and cut out stuff that isn’t working. That said. Remember: focus on the the long term trends. So be consistent and stick with it. .longer you play guitar. there will be less bad days and you will get more consistent. Practicing is really an act of faith. That’s why it’s really important to take one day off from practicing each week. Taking Practice Breaks One of the most underrated aspects of practicing is the time when you aren’t practicing at all. and the better you get a practicing.
You can take a break to improve. Fixing Mistakes A mistake in performance is one of two things: (1) a complete fluke that just happened or (2) a real error that you built into your playing by faulty practicing.Sometimes those days off are the most important. That said you can still be productive during your practice break. They are places where you should utilize guitar practice techniques and try to practice perfect. are called practice events. . places where you make mistakes. Hard things.
Part of being an efficient practicer is knowing when to stop. . etc. Enlist your family and friends. No exceptions. you can start thinking about practice schedules and how much time you spend working on individual aspects of your playing: technique. etudes. The rule: turn off your phone and computer. then go practice during that time 6 out of every 7 days.Practice Schedules and Finding Time to Practice One of the easiest ways to find guitar practice time is to set aside a certain time every day. repertoire. Once you have that time. and make sure that they know that you have this sacred practice time.
Also. check out the practice category. . remember that you can still be very effective with short practice sessions. To see all posts about practicing.If you’re short on time. trying using a task oriented practice schedule. This is only a small sampling of some of the best posts.
Iznaola covers what sorts of things should make up your practice time and how to problem solve. It’s .Books about Practicing On Practicing by Ricardo Iznaola On Practicing is Ricardo Iznaola’s very successful attempt at producing a quick guide for undergraduate guitar performance majors.
but The Art of Practicing is not piano specific. My only critique is that Iznaola does have a very formal writing style. The Arts of Practicing by Madeline Bruser Madeline Bruser is a pianist. which can make some sections a bit unclear. The book delves more into the .a really solid collection of information for not a ton of money.
This may not be a book that you want to buy.spiritual and intellectual side of practicing and connecting with music. That said. there are some very practice tidbits: thoughts on posture and sitting and a breathing exercise to prepare yourself for a practice session are two examples. but it’s worth checking out from the library. .
but practice advice makes up a significant portion of the book.The Musician’s Way by Gerald Klickstein The Musician’s Way is probably one of the most complete books about being a musician ever published. If you’d like to learn more. . check out my review of the book. It includes all sorts of advice.
The best way to get a sense of what that’s like is to just roll a chord: it feels like one big movement . Cliff Notes: Sympathetic motion is the idea that as one RH finger moves.Sympathetic Motion by Christopher Davis This stuff is definitely not my idea. Aaron Shearer talks about it in Mel Bay Learning the Classic Guitar: Part 1. it pulls the others along with. and Christopher Berg also talks about it in Mastering Guitar Technique: Process & Essence.
o same thing works if you put a bit of tension on m You can use sympathetic motion on arpeggios as well Arpeggios like p i m i or p i a i use sympathetic motion followed by a return by another finger (opposing motion). play. Two separate sounds. a hangs behind a bit and separates. We use m a together as a compound or composite stroke o play m a together. harder at moderate tempos. one motion. For another explanation. Sympathetic motion is easy at fast tempos. check out this video from Lutemann . and doesn’t really work so great at slower tempos. o Put a little tension on a.
p extends and plants. i plays. I did not practice sympathetic motion specifically to develop it. The key is to extend the fingers. i and m extend. but found that it developed on its own from practicing all arpeggios with sequential planting. Really using this is just like sequential planting on steroids. a plays.Here are some common arpeggios from the view of using sympathetic motion. p m i: p plays. i plants. i plants. i and m extend. m plays. p i a: p plays. . p plants. pulls a onto the string. i m a as one unit. p plants. i plants. m plays. pulls i onto the string. pulls m onto the string. p i m: p plays. i plays. i and a extend. m plants.
a plays. m and a extend. m plays. a plays. p plants (compound stroke). You can then develop the compound stroke into sequentially planting by letting the second finger sit out from the string a bit. both plant. put a little tension in m. m plays.p a i: p plays. m and a extend. i and ma extend. a plants. and gets pull in by the motion of the first finger–just like p i m works! . p plants. both plant. p m a: p plays. i plays. p a m: p plays. put a little tension in a. pulls i onto the string. a plays. p plants (this is the compound stroke motion).
I’ve been changing it up. (Yes. My arpeggio technique practice is usually the arpeggios from the first three groups of studies in Giuliani 120+ done using Slow/Fast Alternation. however. it was something I was experimenting with. This is an effort to . I do the things I write about!) The past few weeks. I’ve been starting with different finger on each arpeggio (still using slow/fast alternation).A Right Hand Arpeggio Routine by Christopher Davis When I wrote Fun with p i m.
i p a m a p. p a m i m p. p m a. m i p i. m p a Day 2: p i m i. p a m a i m i p. i p i a a i a p. p i a i. i a p a. The Schedule Day 1: p i m. p i a. i m p m. m p i m i p. a i p i. a p a i . a p m a m p.challenge my fingers a bit more and keep things interesting. p m a m. i p m i a p. p m i m. p a i. a p i a i p. m p m i i a i p. i p i m m i m p. p m i.
m p a i (cross string trill patterns) m i a p. i a p m. m i p a. a p i m m a i p. i p m a i a m p. p i a m. p a i m. m a p i. p m ia i m a p. m a p a.m a m p. i p a m a i m p. m p i a a m i p. a p a m Day 3: p i m a. p m a i. a m p i. a i p m. a m p m. a p m i Day 4: repeat day 1 Day 5: repeat day 2 Day 6: repeat day 3 Day 7: OFF . p a m i. m p m a a m a p. i m p a.
Build up to doing the entire routine. If it takes you a while to get right hand patterns down. for me. After the patterns are better assimilated it will take less time. consider working on just a few of the patterns at first. A Note About Time At first it takes a while to do these exercises. . The challenge. is to keep the accent on the first finger. The first week. it took about thirty minutes for each day.The function of reordering the fingers is to shift the accent around. but still use the Sympathetic Motion developed by doing arpeggios starting with the thumb. really.
Sympathetic Motion by Christopher Davis . p m i. this routine is not for you.The other side of time is tempo. A Few Notes If you’re a beginning guitarist. I do not use a metronome in technique practice often. These exercises can be practice with or with out a metronome. p i m i. See Technical Exercises for the Absolute Beginner. or work with simpler arpeggio forms like p i m. but I do recommend slow/fast alternation as soon as the patterns are assimilated. and p m i m.
The best way to get a sense of what that’s like is to just roll a chord: it feels like one big movement We use m a together as a compound or composite stroke o play m a together. Cliff Notes: Sympathetic motion is the idea that as one RH finger moves. o Put a little tension on a. and Christopher Berg also talks about it in Mastering Guitar Technique: Process & Essence. a hangs behind a bit and .This stuff is definitely not my idea. play. Aaron Shearer talks about it in Mel Bay Learning the Classic Guitar: Part 1. it pulls the others along with.
Two separate sounds. Really using this is just like sequential planting on . Sympathetic motion is easy at fast tempos. o same thing works if you put a bit of tension on m You can use sympathetic motion on arpeggios as well Arpeggios like p i m i or p i a i use sympathetic motion followed by a return by another finger (opposing motion). check out this video from Lutemann Here are some common arpeggios from the view of using sympathetic motion. one motion. separates. and doesn’t really work so great at slower tempos. harder at moderate tempos. For another explanation.
i and ma extend. i and m extend. p a i: p plays. a plants. i plays. pulls i onto the string. p i a: p plays. but found that it developed on its own from practicing all arpeggios with sequential planting. i m a as one unit. i and m extend. m plants. i plants. p plants. I did not practice sympathetic motion specifically to develop it. a plays. .steroids. p plants. p i m: p plays. i plays. p extends and plants. i plants. p m i: p plays. pulls a onto the string. i and a extend. p plants. m plays. m plays. i plays. pulls m onto the string. i plants. a plays. The key is to extend the fingers. pulls i onto the string.
a plays. p plants (this is the compound stroke motion). m and a extend. m and a extend. You can then develop the compound stroke into sequentially planting by letting the second finger sit out from the string a bit. a plays. p a m: p plays. both plant. p plants (compound stroke). m plays.p m a: p plays. m plays. and gets pull in by the motion of the first finger–just like p i m works! Cross-String Ornaments by Christopher Davis . put a little tension in m. put a little tension in a. both plant.
Russell’s method is to use aimp: .I suggest you read a few articles on cross string ornamentation by two people way smarter than I: David Russell: Two String Trills Stanley Yates: Everything You Wanted to Know about Cross String Ornaments Russell and Yates give two different fingerings to use for cross-string ornaments.
.Yates uses imam. which can work really well. which is a bit harder to get down. he offers practice advice that works very well in the article linked above. but it’s hard to get in time and rhythmic. However. There’s also the option of raking a finger across two strings.
This can be a big advantage in more complex pieces. Personal Preference Your personal preference and strengths are going to determine which fingering pattern works best. .The advantage of miam and mimm is that the thumb is free to do it’s thing. However. I’m working on nailing miam because it frees up the thumb. My go-to cross string trill is aimp.
Right Hand Fingering Guide by Christopher Davis Getting a great set of fingerings for a piece is not easy. “Bad” string crossings This can be extremely helpfully in scalar passages. A ―good‖ string crossing looks like this: . The goal of this post is to provide some things to think about when putting together your right hand fingerings for a piece. “Good” vs.
Most times the . Whenever there’s a string crossing the arm carries a finger to the next string.A ―bad‖ crossing is like this: Good and bad are in quotation marks because it doesn’t really matter. It’s very apparent when doing a ―bad‖ crossing.
easiest way to is to use a ―good‖ string crossing. Using a can avoid this: . for example: Strict mi alternation produces a ―bad‖ crossing (circled). Take a look at this scale. This is especially true for beginners. Use a to Prevent Bad Crossings More advanced guitarists can make very effective use of a to prevent bad crossings.
This is especially important in faster pieces. the easiest right hand pattern should be used. Your practice should include both good and bad string crossings. Arpeggio Textures: Constructive Cheating When performing a piece that has an arpeggio texture. There’s a couple .Despite all this. But when preparing a piece for performance choose the easier and most logical finger. bad crossings happen sometimes.
Sometimes it’s easier to bring the thumb up to grab a string than trying to play it with another finger. . 1. 2. However. Performing is stressful already. make it as easy as possible. A simple pimi arpeggio can be played very quickly and cleanly using piam.ways to ―cheat‖ that step outside the traditional norm. some etudes have specific purposes and fingering shouldn’t be messed with to make them easier. Use four fingers where three would do. Move the Thumb around. The Bottom Line When fingering a piece. There are obvious advantages to playing studies a harder way. concert pieces are often a different story. so don’t make it any more difficult.
that means doing (1) arpeggios. For classical guitarists. or the like employs the technical skills of a particular art or field of endeavor. (2) slurs.Classical Guitar Technique Tech • nique – the manner and ability with which an artist. In other words. (3) guitar scales. Thus. writer. athlete. Classical guitar technique is how we move to accomplish our goals. (4) other left hand considerations and (5) other . technique is what we do to accomplish all of the musical things we want to accomplish. dancer. it’s extremely important to isolate your technical deficiencies and work on them.
Take the notes of a chord.extended techniques such as rasgueado or things like the snare drum effect. The Classical Guitar Blog has a ton of resources on technique. there some recommendations for books about classical guitar technique. Classical Guitar Arpeggios The word arpeggio means broken chord. and play them in sequence rather than all together. . so let me highlight a few for you below. Following the list of posts on this site.
Those fingers are then used to play the notes of a chord in sequence.Chord vs Arpeggio In the classical guitar world. Sometimes this is easy (like the example below). and . playing arpeggios means using a specific right hand technique in which there is one finger per string.
Some of the most famous pieces of the guitar repertoire include extended sections of repeated arpeggio patterns. Which is unfortunate. Classical guitarists spend a lot of time playing around with arpeggio textures. It makes sense then that you should spend some time with arpeggios in your technical . Classical Guitar Arpeggio Arpeggios don’t get a lot of love in the technical practice world.sometimes it’s very complex (like piece by Mertz in the audio below).
and cross-string trills also fit into the arpeggios category. extensions of arpeggio technique. They are. The Giuliani right hand studies and other similar exercises are some of the most effective ways to practice arpeggios. Resources for practicing classical guitar arpeggios: A Right Hand Arpeggio Routine Three Ways to Develop and Arpeggio How to Practice Cross-String Trills Cross-String Ornaments . repeating notes on a single string. Tremolo.practice routine. after all.
Slurs on the Guitar Slurs (aka Hammer Ons and Pull Offs) are one of the most demanding left hand techniques. Slurs with the First Finger Descending Slurs Ascending Slurs Video Lesson: Beginning Slur Exercises . Even advanced guitarists have difficulties with trills and other extensions of left hand slur technique. And. Beyond the obvious technical difficulties of them. a lot of intermediate guitarists have trouble with them. Here are some resources to help with your slur practice. frankly. improper slurs can often ruin the musical flow of the pieces or even destroy phrasing.
Try incorporating a few one octave scales and five-note bursts into your technical routine. And if you happen to be playing a piece with a lot of scales. Not just long. a guitarist’s best friend. Still. 1 or 2 octave Segovia scales (aff). Honestly the classical guitar repertoire doesn’t include a lot of passages of extended scales. it makes more sense to practice those scales instead of abstracted major and minor scales. Scale practice should include long. and burst practice. scales. scales are an essential part of guitar technique and should be included in your routine. right? Maybe not. . short.Classical Guitar Scales Ah.
I suggest you extract portions from pieces and use them. . Guitar Scales: The Right Hand Guitar Scales: The Left Hand Scale Practice Techniques Left Hand Technique Considerations One of the first thing to consider is shifting up and down the neck of the guitar. So much of left hand shifting is piece-specific that it’s hard to practice it outside of those contexts. Should you want to add this to your technical routine. Most likely you’ll getting plenty of shifting practicing during your normal repertoire practice.Here are some resources about scale practice.
it depends on the piece.Also read Sequencing the Left Hand and Practice Techniques: Stop/Go. Think Carefully About Guitar Technique The goal of the linked posts on guitar technique is to make you think. Both are useful depending on the context. The left hand can either be in an angled or straight position. Again. So things like an angled vs. Classical guitar technique excellence takes careful consideration of both technical exercises and how technique functions in the context of real pieces. Finally. do classical guitarists really play on their fingertips? Sometimes. .
These posts are some of the most important to read. . I’ve created a bunch of ebooks of technical exercises and information.95 you’ll get access to all of the ebooks and a year of access to our forum where you can get your technical questions answered. They are now all available on The Classical Guitar Blog+.straight hand position can be noticed and practiced. The Classical Guitar Blog+ Over the years. but if you want more please check out the classical guitar technique category. For only $19.
And for good reason: it’s damn good. Author Scott Tennant put together what is essentially a book of some of the most effective technical exercises for the guitar. and left hand .Classical Guitar Technique Books Pumping Nylon by Scott Tennant Pumping Nylon has been one of the standard classical guitar technique texts for nearly ten years. slurs. arpeggios. It includes exercises for rasgueado.
That . The down side to Pumping Nylon is that there is very little in the way of text and explanations. is a bit lean on text. Scott Tennant pretty much throws a bunch of exercises at you to practice with no real suggestions on how to incorporate them into a coherent whole of a technical routine. like pumping nylon. Kitharologus by Ricardo Iznaola Kitharologus.finger independence and coordination.
clearly laid out technical routine that would keep any guitarist busy for a year or more.said. while Kitharologus lacks text. it’s not short of detail. . In addition. This is a book of exclusively technical exercises laid out in levels of increasing difficulty. It’s an impressively coherent. Iznaola gives you metronome markings for every exercise and an entire practice routine for getting through the entire book.
the Art of Classical Guitar Playing is mostly text and in depth explanations about the how and why of guitar technique. And it’s awesome.The Art of Classical Guitar Playing by Charles Duncan The Art of Classical Guitar Playing was one of the first books I read about guitar technique. but it’s very solid. The advice may be a bit ―old school‖. If you want some more exercises. Pumping Nylon and Kitharologus are books of technical exercises. it does .
Ryan The Natural Classical Guitar is another book of explanations and info about the how and why of guitar technique. Classical Guitar 2000.have a companion book. Some key ideas of this book have become common knowledge in the guitar world: the play relax technique and ballistic motion to name a few. The Natural Classical Guitar by Lee F. but I was very underwhelmed by the exercises in it. Unfortunately. The Natural Classical Guitar is out of print and .
That said.Learning the Classical Guitar by Aaron Shearer Aaron Shearer was one of the most well known guitar pedagogues of the 20th century. It’s mean to be studied along with part two. As a book about classical guitar technique.expensive to buy. the local library may have a copy. if you can . or check at a nearby university library. this one is all text. As a method it’s really not very good. Learning the Classic Guitar is the first of three volumes of his guitar method. That said.
it’s very good.get past Shearer’s very formal writing style. .
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