9 Steps To Improve Your Sight Reading

 

The most complicated looking 16th note figures can be more easily understood if broken down into eighth note equivalents.

 

 

 

Before playing any part of the new piece, scan the page for:

• Key Changes
• Time Changes
• Repeat sign, CODA sign etc.
• Extremely high or low ledger line sections
• Complicated looking rhythms.

NOTE: The most complicated looking 16th note figures can be more easily understood if broken down into eighth note equivalents.

• F. Large Interval Skips. G. Written Out Chord Voicings

NOTE: If you do not have time to figure out the complete chord, concentrate on playing the top notes first, since they are sonorally predominant.

• H. Special Effects: Wah-Wah, Slow Tremelo, Echo, Etc.

• Dynamics: ppp, mp, ff, Staccato, Legato, Accented tone Etc.

1. Two from the above procedures, decide on the basic fingerings or areas of the fingerboard you will use to play the piece.
2. Now play the hardest looking thing first. NOTE: This may involve a lifemanship game in which you don't let the other guys know you're practicing the part.
3. You must always be conscious of every note you play. Improving sight reading is: Learning to learn faster through memory. Certain rhythms, tone sequences, chord voicings, tend to become standardized. Once you have seen a rhythm pattern of four eighth notes in a row, you've seen them all. This applies to scales as well. At first glance, a string of 16th notes with a lot of sharps and flats can scare you to death, but on a closer analysis, may turn out to be a simple Db scale.
4. Always force yourself to run down new material very, very slowly and build up the tempo very very gradually.
5. When actually performing the piece for the first time, DO NOT break tempo or meter when you miss a note. Learn to recover quickly and come in strong on the next entrance.
6. NOTE: When the stick comes down, it is better to miss one bar than to miss one hundred.
7. Physically, make your eye read one bar ahead. Make SPECIAL EFFORT to do this.
8. Learn to hear what you see, or be able to sing the part without playing it first. This doesn't necessarily mean: do, re, me, fa, sol, la, ti. do, but it does mean to visualize the fingerings, the string numbers and picking and from this, deduce how the passage will sound. After these conscious analysis' have been made, play the arrangement or composition like a REAL song, as though played by ear and not a plastic fabrication.
9. Writing music by ear (away from the guitar) is another way to concentrate on the disciplines of Sight Reading. Take tunes you can already play by ear and write them down in simple lead sheet form. Melody, chord symbols, fingerings, and string numbers.

The above pointers are on how to behave under pressure. The objective is to shorten the learning curve. In recording or other professional areas of playing, it is not uncommon to learn the music in the time it takes for the copyist to pass out the parts (one to three minutes - that is, if you get yours first). So, if this is the name of the game, practice at home should be carried out with the same spirit. A metronome can be invaluable in maintaining this discipline. It is also important to use the time-clock in the same way. Practice for a pre-determined period of time, and do not go beyond without reward or rest. Reward can be as simple as a drink of water and an opportunity to assimilate.

Glossary of Music Terms

A

• Accelerando (it.) - Gradually increasing the speed.
• Adagio (it.) - Slowly. Also as a name for a piece written in that tempo.
• Agitato - In an agitated, exited or restless style 
• Air - a tune, song or melody. Sometimes found in suites.
• Alegria (it.) - Joyful flamenco dance from the province of cadiz.
• Allargando (it.) - Growing broader, getting slower and louder.
• Allegretto (it.) - Just a "little allegro", slower than allegro.
• Allegro (it.) - Quick, fast, but not as fast as presto.
• Allemande (it.) - German dance in 3/4 time, 16th/17th, rather slow. Like a landler. Often the first dance in the classic suite. 
• Amoroso (it.) - Amorous, loving, affectionately.
• Andante (it.) - Rather slow, at a moderate pace.
• Andantino (it.) - A little faster than andante. (Originally it meant just the opposite, slower than andante, but is no more interpreted like that.) 
• Animato (it.) - Animated, with spirit, lively. (Originally it meant just the opposite, slower than andante, but is no more interpreted like that.) 
• Aria (it.) - A melodic composition like an air, a song or a tune. Originally for a single voice with or without accompaniment. Often also an instrumental piece with a singable melody. 
• Arietta (it.) - A small aria or air. 
• Arpeggio (it.) - In the Style of a harp. The notes of a chord are struck consecutively one after the other. 
• A tempo (it.) - In time, back to original tempo. 
• Aubade (fr.) - a morning music, the opposite of a serenade. 

B

• Barcarolle (fr.)/ Barcarola (it.) - Song in the style of the Venetian gondoliers. 
• Berceuse (fr.) - A crade song, a lullaby. 
• Bolero - Spanish dance in 3/4 time, 19th century. Also known as Cachuca. 
• Bourree (fr.) - old French dance, quick, in double time, often part of suites of pieces 
• Brillante (fr./it.) - In a bright, sparkling, brilliant manner. 

C

• Cantilene (ger.) / Cantilena (it.) - A ballad or light popular song. 
• Canzone (it.) - A song or folk song. 
• Canconetta (it.) - A little song or folk song. 
• Caprice (fr.) Capriccio (it.) Capricioso (it.) - a humorous fanciful composition with a somewhat irregular form. 
• Cavatina - A melody of a simple form. A song without a second part or a "Da Capo" a humorous fanciful composition with a somewhat irregular form. 
• Choro - A typical Brazilian music genre deriving from a mix of different European styles like polka, Scottish, tango and havanaise. Melodies emphasizing 16th notes. Choro means "crying". 
• Courante (fr.) Corrente (it.) - From "running". Old French dance in AB-form and 3/2 time. The second dance in the classic suite. a humorous fanciful composition with a somewhat irregular form. 
• Crescendo (it.) - Gradually getting louder. Abbreviated: cresc. 
• Cueca - Chilian dance written in 6/8 time with the accompaniment in 3/4 time. 

D

• Da Capo (it.) - The sign at the end of a piece saying to begin over from the beginning. Abbreviation: D.C. 
• Da Capo Al Fine (it.) - The sign at the end of a piece saying to begin over from the beginning up to where it says "Fine". 
• Deciso (it.) - Decided, energetic, with firmness. 
• Delicato (it.) - Delicately. 
• Diminuendo (it.) - Gradually getting softer. Abbreviated: dim. 
• Divertimento (it.) - (1) A light composition, (1) A suite for instrument 
• Decrescendo (it.) - Gradually getting softer. 
• Dolce (it.) - Soft, sweetly. 
• Doloroso (it.) - Sorrowful, sadly. 
• Doppio movimento (it.) - Double the speed, twice as fast. 

E

• Entree (fr.) - an introduction, a march-like piece played during the entrance of a dancing group, or played before a ballet. Usually in 4/4 time. 
• Espressivo (it.) - With expression. 
• Etude (fr.) / Study - a usually short composition meant to exercise some special difficulty or technique. 

F

• Fandango (span.) - lively Spanish dance in triple time, beginning slow and getting faster. 
• Fantasia (it.)/Fantasie (ger.)/Fantaisie (Fr.) - A compositions that is not in any of the regular forms. 
• Fine (it.) - The End. This is where to end a piece after a repeat or partial repeat. 
• Forte (it.) - Loud. Abbreviated: f 
• Fortissimo (it.) - Very Loud. Abbreviated: ff 
• Fortississimo (it.) - As loud as possible. Abbreviated: fff 
• Fugue - A polyphonic composition with one or more short themes introduced first by a one voice and repeated by other voices in turn. All this happening with harmonization according to the rule of the counterpoint. 
• Furioso (it.) - Furiously, wildly. 

G

• Galop (fr.) - a lively round-dance in 2/4 time 
• Gavotte (fr.) - French Dance in 4/4, 17th/18th century, still alive in the Bretagne, rather quick 
• Gigue (fr.) - (Jig) lively Scottish or Irish dance in 6/8, 17th/18th century, often the last part in a suite (from English jig, Giga, Geige) 
• Grandioso(it.) - Grand, noble, pompous. 
• Grave (fr.) - Slow (the slowest tempo in music) or deep in pitch 
• Grazioso (it.) - In a graceful style. 

H

• Hornpipe - An old English dance in a lively tempo written in triple and later also in quadruple time. 

L

• Landler (ger.) - A dance in 3/4 or 3/8 time and lively and graceful character. Popular among Styrian peasants. 
• Larghetto (it.) - Rather slow, but not as slow as largo
• Largo (it.) - very slow, broadly. 
• Legato (it.) - In a smooth, connected manner. Opposite of staccato
• Lento (it.) - Slow 

M

• Maestoso(it.) - Majestic, stately, with dignity. 
• Marcato(it.) - With emphasis. 
• Maxixe - A Brazilian dance first introduced in Paris in 1912. It is in 2/4 time of rapid tempo with a slight syncopation. 
• Mazurka - A lively Polish dance in 3/8 or 3/4 
• Meno mosso (it.) - Less movement, slower. 
• Menuet / Minuet (fr.) - Old French dance, in triple time, 17th/18th century, (from menu pas - small step) 
• Mezzo forte (it.) - Half loud, medium loud. Abbreviated: mf 
• Mezzo piano (it.) - Half soft, medium softly. Abbreviated: mp 
• Milonga (it.) - 1.the peppy, cheerful dance milonga as part of the tango; 2.the 'milonga campera' or 'milonga surena', an Argentinean folk music form, often performed just by a singer with a guitar, and of very clear Hispanic influence. The Milonga rhythm is characterized through the division of the 4/4 time in 3+3+2. 
• Moderato - Moderately, in a moderate time. 
• Modinha - Brazilian dance in a sentimental mood, Brazilian love song. 
• Molto (it.) - Much, very much. 
• Moerendo (it.) - Dying away, fading. 
• Musette(fr.) - (1) A small bagpipe or (2) a melody or dance written over a ground note to imitate a the sound of a bagpipe 

N

• Passepied (fr.) - French dance in 3/8 or 6/8 time, sometimes in the German Suites. 
• Passionato (it.) - With passion, with favor. 
• Partita (it) - A Suite. 
• Pavane - Slow solemn dance in duple (or sometimes triple) time, of Spanish origin; generally in three sections, each one repeated. 
• Pianissimo (it.) - Very softly. Abbreviated: pp 
• Pianississimo (it.) - As softly as possible. Abbreviated: ppp 
• Piano (it.) - Softly. Abbreviated: p 
• Piu mosso, piu moto (it) - More motion, quicker. 
• Polacca / Polonaise (fr.) - A Polish dance in moderate 3/4 time reapearting different short motives. 
• Polka - A dance in 2/4 time coming from Bohemia. 
• Prelude (it) - A piece to be played as an introduction or opening piece but often also a single romantic piece, following no specific form. 
• Presto (it) - Rapidly, very fast, faster than vivace
• Prestissimo (it) - As fast as possible. 

Q

• Quadrille (fr.) - French dance 

R

• Rallentando (it.) - Getting gradually slower. 
• Ritardando (it.) - Getting gradually slower. 
• Ritenuto (it.) - Detained, held back, slowed down. 
• Romance (fr.)/ Romanza (it.) / Romanze (ger.)- Romantic, sentimental melody. 
• Rondo - from the French "rondeau". A piece where a main theme reappears in alteration with contrasting other themes. Most often in the form of ABABA or more modern ABACAB and coda. 

S

• Sarabande (it.) - A dance of Spanish origin in 3/4 or 3/2 time. Often part of old suites. It has a steady pace and mostly two parts. 
• Serenade (fr.) - An evening music. A composition for use in the open air at night. 
• Siciliano (it.) Sicilienne (fr.) - - a soft, slow peasant dance in 6/8 or 12/8 time, often in a minor key. Rather similar to a Pastorale, usually in ABA form. It usually has a melody in dotted rhythms, with a broken chord accompaniment. 
• Sonata (it.) - A composition for one or two instruments with several movements, each following specific forms and characteristics. 
• Sonatina (it.) / Sonatine (fr.)- A short sonata, smaller, with less and shorter movements and the subjects not developed at length. 
• Staccato (it.) - In a crisp, detached separated manner. Opposite of legato
• Stringendo (it.) - hasting the movement, becoming faster, pressing. 
• Study / Etude - a usually short composition meant to exercise some special difficulty or technique. 
• Suite (fr.) - A set or series of movements, each consisting of a dance form (Allemande, Courante, Sarabande, Gigue, Gavotte, Menuet, Bourree, Passepied, etc.) and all in the same key. Often proceeded by a Prelude. 

T

• Tango - A dance originated in the streets and salons of Buenos Aires, Argentine. It is characterized as very as passionate. 
• Tarantella - A rapid Italian dance (supposed to cure the bite of a tarantula). 
• Tempo (it.) - Time in the meaning of "rate of movement". 
• Toccata (it.) - Brilliant, prelude-like composition. 
• Tranquillo (it.) - Tranquilly, quietly, calmly. 

V

• Valse(fr.) - See Waltz
• Variations - A theme repeated several times, each time with modifications in time, melody or harmony, but still staying recognizable as the original theme. 
• Vivace (it.) - Lively, very fast. 

W

• Waltz / Valse (fr.) / Valce (it.) / Walzer (ger.)- A dance form said to originate in Bohemia or the German landler. It is in 3/4 time. "Classical" waltzes are compositions in waltz-form but not for dancing. 

Carcassi, Matteo (1792-1853 Italy) Sheet Music

Gallop    No difficulties, sounds nice. 

Andantino from "The Nouveau Papillon" op.5    Simple piece with very beautiful melody.  

From the six caprices op.46:

Caprice No.2    This one is my favourite among the six.

Caprice No.4    Very vivid and has to be played fluently and fast (like all of these six).

Caprice No.5    Listen, how the melody lies in the arpeggios and changes to the bass notes.

 

From the 25 progressive melodic studies op 60:


Etude no.3 op60 - Andantino     One of the easier ones and fun to play.

Etude no.7 op60 - Allegro     Try this one to help you build up some speed or to prepare for Recuerdos de la Alhambra. 

Etude no.9 op60 - Allegro grazioso  

Etude no.11 op60 - Agitato     Quick changes between upper and lower melody. 

Etude no.13 op60 - Andantino grazioso    The melody in the lower notes and quick chaneges from arpegios to tremoloes. 

Etude no.14 op60 - Allegro moderato    Practice this kind of flowing melody line 

Etude no.16 op60 - Andante     This one has a beautiful melody. 

Etude no.22 op60 - Allegretto    The melody lines run over all 6 strings - good practice 

Etude no.25 op60 - Allegro brillante    Now this one is something else to play right. 

 

Download: Carcassi, Matteo Sheet Music

33 Sheet Music of Avgustine Barrios

Avgustine Barrios (1885-1944) Paraguay

 

 

		Jha Che Valle	jpg	2pages
		Una Limonsa por el amor de dios	gif	6pages
		Villancico de navidad	doc	1page
		Fabiana	pdf	4pages
		Maxixa	gif	3pages
		Las Abejas	gif	2pages
		Aonquija	gif	3pages
		Armonias ded America	tif	4pages
		La Catedral	gif	7pages
		Choro da Saudade	gif	3pages
		Cordoba	gif	2pages
		Cueca	gif	2pages
		Danza Paraguaya	tif	4pages
		Danza Paraguaya	jpg	1page
		Divagacion	tif	3pages
		Don Perez Freire	gif	2pages
		Danza Guarani	gif	1page
		Julia Florida	gif	2pages
		Julia Florida	jpg	2pages
		Madrigal Gavotta	gif	3pages
		En Sueno de la Munequita	gif	2pages
		Pepita	gif	5pages
		Preludio en Do Menor	gif	2pages
		Primavera-Vals	gif	3pages
		Tua Imagem, Valsa	gif	2pages
		Valse N3, Op.8	gif	3pages
		Pains de abanico	pdf	2page
		3 Studies	pdf	9pages
		Bajo la Parra	bmp	7pages
		Contemplacion	gif	8pages
		Eloisa	bmp	7pages
		Cristinilla	bmp	5pages
		Arroyos de la Alhambra	bmp	8pages

 

Download:  Avgustine Barrios

The attack angle of fingers In Classical Guitar Playing

Explains to different guitar school methods. The "Attack to the Right" and "Attack to the Left".

 

 

Attack to the Right

Plucking the strings with the right tip (part) of the fingers

Attack to the Left

Plucking the strings with the left tip (part) of the fingers

Attack to the Right or to the Left?

If there are certain arguments in favor of the "Attack to the Right" (respect of the trajectory of the flexor tendons of the fingers), we cannot conceal that excellent guitarists exert their art while "Attacking to the Left”. In fact, for a long time this problem is a subject with a lot of debates persisting in the guitar world. Thus Aguado, Dionisio wrote in his method that it was necessary "to attack the cord with the pulp of the left part of the finger", indisputable characteristic of the "Attack to the Left". At approximately the same time, Sor, Fernando somewhat dissociated this opinion by affirming that he "turned a little the hand in contrary direction to that in which it saw some guitarists turning it" in particular Aguado, Dionisio.

In full agreement the "Attack to the Right" school I can say that its principal technical merit is supported the independence of the finger-a.

The majority of the guitarists practice this attack with the left dimension of the finger. Others on the contrary are useful only of the right dimension. It is wise to be able to attack of the two dimensions, preferably "Attack to the Left" for Apoyando (Rest-stroke) and "Attack to the Right" for Tirando(free-stroke), the tremolo in particular, It is not recommend alternating the two attacks because of the destabilization of the tendons which it inevitably trained. Moreover, changing the angle of attack can pose some problems on the level of the nail measurement. All in all the angle of attack as little importance, although it is necessary to keep in mind the possible deviation of the hand. In other terms the selected type of attack must determine the position of the hand and vice versa, it is the positions of the hand which must determine the appropriate type of attack.

Finally we could question that the rapid alternate other of these techniques always exposes the hand to a serious functional problems and it needs time for the additional adaptations.

My advice to you is that no matter what kind of attack you practice you must always listen to what you are playing. You’ll know that you have found the suited attack and the suited hand position, when you’ll start likening what you are hearing in your playing.

Andrés Segovia - Master Class Chaconne

Part 1

Part 2

Part 3

Part 4

How To Shape And Take Care Of Your Nails

 

One of the most demanded questions encountered by the guitarist is the shape, length and care of the right hand fingernails.Whether the string is struck from the right or from the left or even the middle of the nail the problems remains the same.

 

 

The length, shape and surface of your fingernails have a direct effect on your playing: how you care for your nails will affect your music as much as how you practice. This is considered an important matter because it affects the sound quality or timbre which the guitarist is producing on the instrument.

The Length of the Nails

To verify your nails length you must hold your hand with the palm facing you. You should see the tips of the nails just peeking past the fingertips (1 to 2 mm).

The Caring Of the Nails

A great number of commercial stuff claim to strengthen and harden weak nail. But these are often very extensive and do not achieve the hopeful result. I can give you few examples which you can try out, one after another, in order to care for your nails.

First month every evening rub some lemon juice into and around the nail, the 2 month you can use deodorized paraffin in the same way, the 3 MONTH make the same application with olive oil and the 4 month go back to the lemon juice.

The Shape of the Nails

If you do not know how to determine the slant of your nails, fold a piece of emery paper on the first string, hold it with the left hand and play on the paper in your usual position of the hand. In that way your nail all by itself will assume its shape.

Notice: Every individual has his own preferred shape of nail.

Having nails on the right hand is certainly not all of it, these nails need to de filed shaped and slanted in that way that they produce a pleasant sound.

So the best way of filing nails is to start with a cardboard file. Hold the file pointing toward your face (looking down its length), with the finer surface facing upward. Holding your finger at a ninety degree angle (perpendicular) to the file, place the nail on the surface. The vector of your finger should be around forty-five degrees to the plane of the file, so that the nail is being filed somewhat from beneath. File the nail by evenly drawing the file back and forth with the left hand, exerting even pressure and guiding it in place with the right thumb.

This file gives you the general shape of the nail. Then depending on your nails hardness or weakness you can use emery paper.

After the nail is filed, its edge must be finely polished. Take a small portion of 1000 grade open coat sandpaper and rub, with a back and forth motion, the same spot of sandpaper on the edge of the nail, particularly concentrating on the left side of the nail. The surface of the sandpaper will wear down as you rub, creating an increasingly smoother polishing surface. Keep rubbing until the edge is as smooth as a glass surface.

Indifferent of your conditions of the nail you must always finish shaping them with 2000 paper and then you can buff them with chamois leather mounted on a piece of wood.

After you're finished, visually inspect each nail for consistency in length and shape. Use the thumbnail edge to feel each fingernail edge for flaws in smoothness and shape. If your nails are properly shaped with the edges finely polished, there should be a distinct increase in ease of execution, and also in tone quality.

The procedure

1. Cardboard file
2. Emery Paper N2000
3. Chamois leather

How can I prevent my nails from breaking?

1. Avoid getting your nails wet. Use rubber gloves when you have to wash dishes, the car, etc.
2. Get into the habit of using your left hand for things such as opening doors/drawers, flicking switches, anything where you might catch the nails on something.
3. Let your left thumbnail grow a little long so you can use it for prying instead of the right one.
4. Keep the nail edge very smooth with a file and ultra fine sand paper (around 600 grit). This will prevent little snags which can catch on things and maybe rip off the nail tip.
5. Apply two or three layers of clear nail polish. Put polish on the overhanging underside of the nail too.
6. Don't let the nails get too long. They can hamper your playing and they may break easier.
7. Also to protect your nails from breaking you can put on and under the nails scotch tape am practicing this when they are too short or usually before concerts to keep my nails intact. Works great.

How To String A Classical Guitar

 

When changing the strings on a classical guitar it is best to change one string at a time. It is not good for the neck of the guitar to have a sudden release of tension and then to have it applied forcefully later. This can lead to distortion of the neck and permanent damage.

 

As well as this, never tune the string more than a tone above its normal pitch. You can tune it a little sharp (for example, one semitone above normal concert pitch) as this can make the guitar a little ‘brighter’ to play. Tune it any higher and you risk breakage.

Never put steel strings on a classical guitar. It is not constructed to take this exertion and it is easily damaged (the neck can break away from the body).

To string the guitar:

• Unwind the old string until the tension is completely released and the string is quite floppy
• Unthread the string from the Capstan in the Headstock
• Next untie if from the bridge and discard it

You’re now ready to string the guitar:

• Start by slipping the string through the corresponding hole in the bridge from the sound hole end
• Leave approximately 1½ inches of the string sticking out past the back of the bridge
• Pull the extra string length towards the sound hole and loop it around the string where it originally entered the bridge
• Loop the string under and over itself on top of the bridge twice. This forms a figure 8.
• Pull the string tightly away from the sound hole and attach it to the tuning peg as shown below
• Loop the string at the peg head and then twist it around itself before tightening the peg
• Continue to restring the other strings one by one using the above method

After all the strings are restring, start to tune the strings by starting with the first E treble string. Use the tuning fork to get the A note on the 5th fret. You can tune the other strings from this.

Letter D method

There is another way of securing the string to the bridge. This is called the Letter D method. This is usually used only for the 4th, 5th and 6th strings and is done as follows:

• Start as you would with the figure 8 by passing the string through the bridge at the sound hole and leaving 1½ inches sticking out
• Bring the extra string length back and loop around itself then under and over itself ONCE at the very back of the bridge forming the letter D

Supposedly, the figure 8 is better since it has more holding power.
Some things to take note of while restringing and tuning:

• Nylon strings, especially trebles, are very stretchy. On the first day they will seem to be never in tune but will stabilize the next day
• Don’t stretch the strings when restringing since this make them develop thin areas. Uneven strings do not play in tune
• Most intonation problems are due to uneven strings
• Experiment to find the string that sounds best

Remember to take your time when first restringing a guitar. Take care that you learn the correct method. There will be less slippage and breakage or tuning problems if you learn in this way.

When you first put on new strings play all the semitones, fret by fret, along the string length and then retune the guitar. This will allow the strings to stretch more quickly and settle down and stay in tune.

There are a lot of classical guitar strings on the market. It pays to experiment until you find the one that is right for you

Restringing a guitar can be a bit daunting at first. Approach the task slowly and take time to learn the correct methods.

The Library of Guitar Classics

Over 2,500 pieces of Classical Guitar Score, complied and arranged by Jerry Willard in 1998.

A compendium of the world's most beloved guitar classics. Includes 116 favorites including Greensleeves, Bach's Bouree, Tarrega's Recuerdos de la Alhambra, Albeniz's Leyenda and other favorites by Carcassi, Carulli, Giuliani and Sor. This volume well depicts the history of music for classical guitar with works from the 14th century to the present.

 

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Choosing between long and short nails for playing Classical Guitar

 

The debate over long or short nails has raged since the dawn of the classical guitar and the right answer to this question is "It doesn't matter". But there are differences between the two styles and some things you should know before you decide which is right for you.

 

Some classical guitarists prefer to pluck the strings with the nails of their right hand while other guitarists prefer to keep their nails trimmed and to pluck the strings with the tips of their fingers. If you are a beginner classical guitarist you might be wondering which way you should play.You can start with no nails at all playing like that for one year or so.In that way you will find the right attack of the fingers.Only after that you could let them to grow.

Here are some insights about each way so you can make a decision as to which style is right for you.

The most important thing about playing classical guitar is the playing! It is true that the oscillating back and forth between long and short nails has an effect on the virtuosity but this switching also brings a benefit. The two different styles of playing produce two very different tones and this awareness of tone improves the ear and the ability to express yorself with the guitar. It helps you to better tap into the incredible range of tone the guitar is capable of.

Long Nails

Long nails give you a more vibrant tone, better volume and faster speed. But long nails can be a real maintenance headache. You have to keep them very carefully trimmed and watch out for their welfare in your normal life.

Short Nails

Short Nails do not produce as loud a volume, do not lend themselves to the fastest playing but do give you more control and more sensitivity in your playing. There is more of an emotional connection with the music because you literally touch the strings. Short nails are also easier to maintain and easier to integrate into the rest of your life.

So which should you use?

My recommendation for you is that if your intent is to be a professional classical guitarist you should cultivate your playing experimenting with both styles and see which you like.It can be a bit of a worry to have long, perfectly trimmed and manicured nails for playing yet always worry about breaking them. And breaking one nail seriously hampers, if not totally stops your ability to play. You will be running down to the local drug store to find a nail repair kit. Either way you go with your nails my biggest recommendation is that you not worry about it. The most important thing in classical guitar is the music and you should always think about what do you want your audience to hear  because its a beautiful instrument and it is going to sound fantastic.

The Beatles for Classical Guitar

 

Music of "The Beatles", composed by John Lennon, Paul McCartney, arranged for Classical Guitar.

 

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Xuefei Yang Romance de Amor Score

Download: Romance de Amor Album Score

Sheet Music Collection (T-V)

F. Tarrega - Adelita

F. Tarrega - Alborada

F.Tarrega - Andalusian Dance

F. Tarrega - Capricho Arabe

F. Tarrega - Carnival in Venice

F. Tarrega - Danza Mora

F. Tarrega - Danza Odalisca

F. Tarrega - El Columpio

F. Tarrega - Estudio no.1

F. Tarrega - Estudio no.2

F. Tarrega - Etude in the form of a minuette

F. Tarrega - Fantasia from 'Marina'

F. Tarrega - Fantasia on themes from La Traviata

F. Tarrega - Gran Jota

F.Tarrega - Gran Vals

F. Tarrega - Lagrima

F. Tarrega - Las Dos Hermanitas

F. Tarrega - Malaguena

F. Tarrega - Manchegas (spanish dance)

F. Tarrega - Maria

F. Tarrega - Marieta

F. Tarrega - Menuet

F. Tarrega - Pavana

F. Tarrega - Paquito

F. Tarrega - Polka Japanese

F. Tarrega - Prelude in A major

F. Tarrega - Prelude in A minor

F. Tarrega - Prelude in D minor

F. Tarrega - Prelude in E major #1

F. Tarrega - Prelude in E major #2

F. Tarrega - Prelude in G major

F. Tarrega - Preludes Endecha-Oremus

F. Tarrega - Preludes - a big collection

F. Tarrega - Recuerdos de la Alhambra

F. Tarrega - Rosita

F. Tarrega - Sueno

F. Tarrega - Sueno Mazurka

F. Tarrega - Tango

F. Tarrega - Vals en La Mayor

F. Tarrega - Vals en Re Mayor

F. Tarrega - Vals: Tema de Strauss

A. Vivaldi - Autumn (arr. by KJ Manges)

 

Download: Sheet Music T-V

Sheet Music Collection (S)

J. Sagreras - Anita

J. Sagreras - Arrullo

J. Sagreras - Cadenciosa

J. Sagreras - Colibri

J. Sagreras - Cuatro Estillos Criollos

J. Sagreras - Delia

J. Sagreras - Divagando

J. Sagreras - El Andaluz

J. Sagreras - El Inspirando

J. Sagreras - Elisa

J. Sagreras - El Melodioso

J. Sagreras - El Pimpolito

J. Sagreras - El Porteno

J. Sagreras - El Rosarino

J. Sagreras - Esportanea Gavota

J. Sagreras - Filigrana

J. Sagreras - Gran Fantasia

J. Sagreras - La Aristocratica

J. Sagreras - La Balable

J. Sagreras - La Elegante

J. Sagreras - La Espiritual

J. Sagreras - La Gioconda

J. Sagreras - La Ideal

J. Sagreras - La Marcial

J. Sagreras - La Napolitana

J. Sagreras - La Original Habanera

J. Sagreras - Lejos Del Bien Amado

J. Sagreras - Madrid

J. Sagreras - Magdalena

J. Sagreras - Mazurka

J. Sagreras - Melancolia

J. Sagreras - Miniatura Vals

J. Sagreras - Miradas Y Sonrisas

J. Sagreras - Nocturne Chopin

J. Sagreras - Pensando En Ella

J. Sagreras - Quejas Amorosas Vals

J. Sagreras - Reminiscencias

J. Sagreras - Rimas

J. Sagreras - Sonatina Estudios

J. Sagreras - Tres Piezas Faciles

J. Sagreras - Venecia

J. Sagreras - Vidalita Oriental

J. Sagreras - Zamba

G. Santorsola - Sonata No.4 (Italiana)

G. Santorsola - Suite Andiga

E. Satie - Gymnopedie no.1

E. Satie - Gymnopedie no.2

E. Satie - Gymnopedie no.3

 

Download: Sheet Music S

Sheet Music Collection (P-R)

J. Padovetz - Six Works

N. Paganini - Caprice #24

N. Paganini - Composizioni Varie

N. Paganini - 43 Ghiribizzi

N. Paganini - Grande Sonata

N. Paganini - Sonatas

J. Parga - Alhambra

J. Parga - Concierto Clasico

J. Parga - Del Ferrol A La Habana

J. Parga - Idilio Andaluz

J. Parga - Polo Gitano Y Panaderos

J. Parga - Polo Y Solea

J. Parga - Rapsodia de Concierto no.3

J. Parga - Recuerdos de Cadiz

J. Parga - Recuerdos de Sevilla

J. Parga - Sevillana

J. Parga - Two Guajiras

A. Piazolla - Milonga

M. Ponce - 12 Preludes

M. Ponce - Courante

M. Ponce - Folia de Espana with variations and fugue

M. Ponce - Prelude

M. Ponce - Scherzino Mexicano

M. Ponce - Sonata Classica

M. Ponce - Sonatina Meridional

M. Ponce - Sonata no.3

M. Ponce - Sonata Romantica

M. Ponce - Southern Sonatina

M. Ponce - Theme with variations and finale

M. Ponce - Three Mexican Folk Songs

M. Ponce - Waltz

G. Regondi - Air Varie no.1

G. Regondi - Air Varie no.2

G. Regondi - Introduction and Caprice

G. Regondi - Nocturne

G. Regondi - Rondo Caprice

F. Riedinger - Erinnerung an Luzern

L. Roncalli - Caprici Armonici

L. Roncalli - Suites

A. Roussel - Segovia

F. Rung - Elegie

F. Rung - Serenata

 

Download: Sheet Music P-R

Sheet Music Collection (H-N)

F. Horetzky - Etudes J. Kapsberger - Three Galiards J. Küffner - Sonatine L. Legnani - 36 Caprices L. Legnani - Fantasie L. Legnani - Five Walzes L. Legnani - Scherzo with variations L. Legnani - Six caprices L. Legnani - Theme with variations M. Llobet - Cancio Del Llarde M. Llobet - El Mestre M. Llobet - El Testament d'Amelia M. Llobet - Estudio M. Llobet - Estudio Capricho M. Llobet - La Filadora M. Llobet - La Fila del Marxant M. Llobet - La Nit de Nadal M. Llobet - L'hereu Riera M. Llobet - Lo Fill del Rei M. Llobet - Lo Rossinyol M. Llobet - Mazurka M. Llobet - Plany M. Llobet - Preludio (e major) M. Llobet - Preludio (en la mayor) M. Llobet - Preludio (en re mayor) M. Llobet - Prelude-Original M. Llobet - Respuesta M. Llobet - Romanza M. Llobet - Scherzo-Vals M. Llobet - Variations on a Sor theme Op.15 J.A. Losy - Rondeau A.J. Manjon - Aire Vasco A.J. Manjon - Canto Andaluz A.J. Manjon - Capricho Andaluz A.J. Manjon - Capricho Criollo A.J. Manjon - Cuento de Amor A.J. Manjon - Del Plata a los Andes A.J. Manjon - Estudios (part 1) A.J. Manjon - Estudios (part 2) A.J. Manjon - Fantasia Gitana A.J. Manjon - La Aurora A.J. Manjon - La Primavera (Mendelssohn arr.) A.J. Manjon - Leyenda A.J. Manjon - Minueto A.J. Manjon - Noveletta A.J. Manjon - Por Que? A.J. Manjon - Primavera Andaluza A.J. Manjon - Quiero y no quiero A.J. Manjon - Recuerdos de mi Patria A.J. Manjon - Romanza no.3 A.J. Manjon - Rosita A.J. Manjon - Serenata A.J. Manjon - Seven Pieces A.J. Manjon - Vorrei Morire?

H. Marschner - 12 Bagatelles V. Matiegka - Haydn Variations V. Matiegka - Sonato no.2 E. Mertel - 83 Preludes J.K. Mertz - Caprice on Weber theme J.K. Mertz - Cancertino J.K. Mertz - Der Barbier von Sevilla J.K. Mertz - Elegie J.K. Mertz - Fantaisie Hongroise J.K. Mertz - Fantasie Originale J.K. Mertz - Fantasie J.K. Mertz - Fantasie on Weber Theme J.K. Mertz - Harmonie du Soir J.K. Mertz - Il Trovatore J.K. Mertz - Introduction et Rondo J.K. Mertz - La Rimembranza J.K. Mertz - Le Carneval de Venice J.K. Mertz - Le Gondolier J.K. Mertz - Le Romantique J.K. Mertz - Les Adieux J.K. Mertz - Lucia di Lammermoor J.K. Mertz - Nocturno J.K. Mertz - Norma J.K. Mertz - Opus 13 (several short works) J.K. Mertz - Pensée Fugitive J.K. Mertz - Pianto dell'Amante J.K. Mertz - Schubert Lieder (arr.) J.K. Mertz - Small Variation J.K. Mertz - Souvenir de Choulhoff L. Milan - Pavana 1 L. Milan - Pavana 2 L. Milan - Pavana 3 L. Milan - Pavana 4 L. Milan - Pavana 5 L. Milan - Pavana 6 L. Milan - Six pavanas L. Milan - Two pavanas S. Molinaro - Fantasias S. Molinaro - Saltarellos F. Molino - Fantasia in D major F. Molino - Rondo F. Molino - Sonata Op.6 no.2 F. Molino - Sonata Op.6 no.3 F. Molino - Sonata 1 F. Molino - Sonata 2 F. Molino - Sonata 3 F. Molino - Theme and Variations S. Molitor - Sonata Op.7 L. Mozzani - Italian Song L. Mozzani - Mazurka A. Mudarra - Fantasias A. Mudarra - Gallarda A. Mudarra - Pavana de Alexandre A. Mudarra - Romanesca S. Murcia - Passacaglias S. Murcia - Prelude S. Murcia - Suites L. Narvaez - Cancion del Emperador L. Narvaez - Guardame las Vacas A. Nava - Fantasie A. Nemerowski - Concert Suite H. Newsidler - Short Pieces

 

Download: Sheet Music H-N

Sheet Music Collection (G)

Garoto - A Caminho dos Estados Unidos

Garoto - Carioquinha

Garoto - Debussyana

Garoto - Desvairada

Garoto - Duas Contas

Garoto - Inspiracao

Garoto - Lamentos do Moro

Garoto - Mazurka no.3

Garoto - Sinal dos Tempos

Garoto - Um Rosto de Mulher

Garoto - Voltarei

M. Giuliani - 12 Walzes Op 57

M. Giuliani - 24 Etudes

M. Giuliani - 24 Etudes Op 48

M. Giuliani - Allegro Op 50

M. Giuliani - Andantino

M. Giuliani - Composiciones Op 111

M. Giuliani - Etudes Op 1

M. Giuliani - Fughetta

M. Giuliani - Grande Ouverture Op 61

M. Giuliani - Gran Sonata Eroica

M. Giuliani - Opus 30 pieces

M. Giuliani - Ramillete de mis Flores Preferidas Op 46

M. Giuliani - Rondoletto Op 4

M. Giuliani - Rondoes Op 14

M. Giuliani - Rossiniana 2

M. Giuliani - Rossiniana 3

M. Giuliani - Rossiniana 6

M. Giuliani - Scherzo

M. Giuliani - Seis Grandes Variaciones Op 112

M. Giuliani - Sonate

M. Giuliani - Sonate Op 15

M. Giuliani - Sonatine Op 71

M. Giuliani - Theme and Variations Op 20

M. Giuliani - Theme and Variations Op 6

M. Giuliani - Three Preludes

M. Giuliani - Two Fantaisies

M. Giuliani - Variations on 'Foiles d'Espagne'

M. Giuliani - Variations Op 105

M. Giuliani - Variazioni per Chitarra

M. Giuliani - Variations on a theme by Handel

F. Gragnani - Sonatine

E. Granados - Spanish Dance no.1 - Minueto

E. Granados - Spanish Dance no.2 - Oriental

E. Granados - Spanish Dance no.3 - Zarabande

E. Granados - Spanish Dance no.4 - Vilanesca

E. Granados - Valses Poeticos

G.B.Granata - Dances

J. Guimareas - Sounds of Bells

 

Download: Sheet Music G

Sheet Music Collection (D-F)

LC Daquin - La Guitarra

T Damas - Etude

C. Debussy - La fille aux lin

C. Debussy - Prelude from Suite Bergamesque

Domeniconi - Koyunbaba (Suite)

Domeniconi - Minyo

Domeniconi - Omaggio A A.Carlevaro

J. Dowland - Aloe

J. Dowland - Dr. Cases Pavane

J. Dowland - Earl of Essex Galliard

J. Dowland - Fancy

J. Dowland - Fantasy (in E major)

J. Dowland - First Galliard

J. Dowland - Frog Galliard

J. Dowland - Go From My Window

J. Dowland - Lachrimae Pavan

J. Dowland - Master Piper's Galliard

J. Dowland - Melancholy Galliard

J. Dowland - Mignarda Galliard

J. Dowland - Mr. Langton's Galliard

J. Dowland - My Lady Hunsdon's Puffe

J. Dowland - Piper's Pavan

J. Dowland - Queen Elizabeth's Galliard

J. Dowland - Robin

J. Dowland - Round Battle Galliard

J. Dowland - Sir Henry Guilforde Almaine

J. Dowland - Sir John Smith Almaine

J. Dowland - Sir John Souchs Galliard

J. Dowland - Solus Cum Sola

J. Dowland - Tarleton's Resurrection

J. Dowland - The Lord Viscount Lisles Galliard

J. Dowland - The Shoemaker's Wife

M. Falla - Chanson Du Feu Follet

M. Falla - Homage to Debussy

J. Ferrer - Capricho Op.48

J. Ferrer - Nocturno no.1

J. Ferrer - Nocturno no.2

D. Fortea - Allegro Concerto

D. Fortea - Andalus

D. Fortea - Elegia

D. Fortea - Monteria

Foscarini - Works

G. Frescobaldi - Aria con Variazioni

G. Frescobaldi - Aria detto Baletto

G. Frescobaldi - Dances and Variations

M. de Fuenllana - Fantasies

 

Download: Sheet Music D-F

Sheet Music Collection (C)

A. de Cabezón - Duos and other works

L. de Call - Sonate

L. de Call - Sonatine

F. Campion - Suites

F. Campion - Sarabande and Gigue (transcr. by Pujol)

A. Cano - Andante Grave

A. Cano - El Eco

A. Cano - Estudio de Concierto

A. Cano - Un Recuerdo

A. Cano - 10 Etudes

M. Carcassi - Sonatine Op.1

M. Carcassi - Op.5 excerpts

M. Carcassi - Variations on a French Air

L. Castellaci - Prelude

F. Chopin - Mazurka Op.6 no.1

F. Chopin - Nocturne no.10

F. Chopin - Nocturne no.15

F. Chopin - Nocturne no.20

F. Chopin - Prelude op.28 no.4 (transcription)

F. Chopin - Prelude op.28 no.6 (transcription)

F. Chopin - Prelude Op.28 no.7

F. Chopin - Prelude Op.28 no.11

F. Chopin - Prelude op.28 no.15 (transcription)

F. Chopin - Prelude Op.28 no.20 (all preludes transcribed by F.Tarrega)

N. Coste - 25 etudes

N. Coste - Adagio et Divertissements

N. Coste - Air de la Famille Suisse

N. Coste - Andante et Allegro

N. Coste - Andante et Menuets

N. Coste - Andante et Pollonaise

N. Coste - Delfzil

N. Coste - Deuxieme Polonaise

N. Coste - Deux Quadrilles

N. Coste - Divagation

N. Coste - Divertissement Op28

N. Coste - Divertissement Op9

N. Coste - Fantaisie Op16

N. Coste - Fantaisie Symphonique Op28

N. Coste - Feuilles D'Automne

N. Coste - Grand Caprice Op11

N. Coste - Grande Serenade Op30

N. Coste - Grand Solo Op24

N. Coste - La Chasse Des Sylphes Op29

N. Coste - La Passage Des Alphes Op27

N. Coste - Largo

N. Coste - La Romanesca

N. Coste - La Ronde de Mai

N. Coste - La Source du Lyson

N. Coste - La Vallee D'Ornans

N. Coste - Le Depart Op31

N. Coste - Les Bords du Rhin

N. Coste - Les Cloches Op21

N. Coste - Les Soirees D'Auteuil Op23

N. Coste - Le Tournoi

N. Coste - Le Zuyderzee Op20

N. Coste - Livre D'or du Guitariste

N. Coste - Marche Funebre

N. Coste - Mazurka Op33

N. Coste - Meulan Op22

N. Coste - Opus 12

N. Coste - Opus 13

N. Coste - Quatre Marches et Six Preludes

N. Coste - Recreation du Guitariste

N. Coste - Rossini Variations

N. Coste - Six Pieces Originales

N. Coste - Valse Favorite

N. Coste - Valses

 

Download: Sheet Music C

Sheet Music Collection (B)

J.S. Bach - Cello Suite no.1

J.S. Bach - Chaconne in d minor

J.S. Bach - Fugue in G minor

J.S. Bach - Lute Suite no.1

J.S. Bach - Lute Suite no.2

J.S. Bach - Lute Suite no.3

J.S. Bach - Lute Suite no.4

J.S. Bach - Violin Partita no.2 (Chaconne is on separate file a few rows above!)

J.S. Bach - Prelude in C minor

J.S. Bach - Prelude, Fugue, and Allegro

K.P.E. Bach - Two Pieces

W.F. Bach - Collection of short pieces

J.S. Bach - Violin Sonata no.1

J.S. Bach - Violin Sonata no.2

J.S. Bach - Violin Sonata no.3

Baden-Powell - Songbook

M. Barberis - Fantasia

A. Barrios - Abri la Puerta Mi China

A. Barrios - Aconquija

A. Barrios - Aires Andaluces

A. Barrios - Aire de Zamba

A. Barrios - Allegro Sinfonico

A. Barrios - A mi madre

A. Barrios - Andaluse Melody

A. Barrios - Arabesque

A. Barrios - Armonias

A. Barrios - Ayayay

A. Barrios - Caazape

A. Barrios - Cancion Cuna

A. Barrios - Cancion de la Hilandera

A. Barrios - Capricho Espanol

A. Barrios - Choro de Saudade

A. Barrios - Confession - Romanza

A. Barrios - Contemplacion

A. Barrios - Cordoba

A. Barrios - Cueca

A. Barrios - Danza

A. Barrios - Danza Guarani

A. Barrios - Danza Paraguaya

A. Barrios - Diana Guarani

A. Barrios - Dinora

A. Barrios - Divagacion

A. Barrios - Don Perez Freire (Tango)

A. Barrios - El Sueno de la Munequita

A. Barrios - Escalada Y Preludio

A. Barrios - Estilo Argentino

A. Barrios - Estilo Uruguayo

A. Barrios - Estudio de Concierto No.1

A. Barrios - Estudio De Concierto No.2

A. Barrios - Estudio de Ligados en Re Menor

A. Barrios - Estudio en Arpegio

A. Barrios - Estudio en Si Menor for two guitars

A. Barrios - Estudio en Sol Menor

A. Barrios - Estudio Inconcluso

A. Barrios - Estudio Ligado en La

A. Barrios - Estudio No.3

A. Barrios - Estudio No.6

A. Barrios - Estudio Para Ambos Manos

A. Barrios - Estudio Vals

A. Barrios - Fabiniana

A. Barrios - Floresta

A. Barrios - Gavota al estilo antiguo

A. Barrios - Hilandera

A. Barrios - Humoresque

A. Barrios - Invocacion a la Luna

A. Barrios - Jha Che Valle!

A. Barrios - Jota

A. Barrios - Julia Florida

A. Barrios - Junto a tu Corazon

A. Barrios - La Catedral

A. Barrios - Las Abejas

A. Barrios - Leyenda de Espana

A. Barrios - London Carape (Danza Paraguaya no.3)

A. Barrios - Luz Mala

A. Barrios - Mabelita

A. Barrios - Madrecita

A. Barrios - Madrigal

A. Barrios - Marcha Paraguaya

A. Barrios - Mazurka Apasionada

A.Barrios - Maxixe

A. Barrios - Medallon Antiguo

A. Barrios - Minueto en do

A. Barrios - Minueto en la

A. Barrios - Minuet in A major

A. Barrios - Minuet in B major

A. Barrios - Oracion

A. Barrios - Oracion por Todos

A. Barrios - Pais de Abanico (Country of the Fan)

A. Barrios - Pepita Vals

A. Barrios - Pericon

A. Barrios - Prelude in A minor

A. Barrios - Prelude in C minor

A. Barrios - Prelude in E major

A. Barrios - Prelude in G major

A. Barrios - Prelude Op.5 no.1

A. Barrios - Prelude in E major

A. Barrios - Romanza en Imitacion al Violoncello

A. Barrios - Tango

A. Barrios - Tarantella

A. Barrios - Tarrega Variations

A. Barrios - Tua Imagem Vals

A. Barrios - Tu Y Yo (Gavota)

A. Barrios - Una Limosna por el Amor de Dios

A. Barrios - Un Sueno en la Floresta

A. Barrios - Vals Op.8 no.3

A. Barrios - Vals Op.8 no.4

A. Barrios - Vals Tropical

A. Barrios - Vals de la Primavera

A. Barrios - Vidalita

A. Barrios - Villancico de Navidad

D. Batchelar - Monsiers Almaine

Beatles - collection of songs

S. Behrend - Air del Sacro Monte

S. Behrend - Baroque suite

S. Behrend - Danza Mora

S. Behrend - Flamenco Fantasia

S. Behrend - Flamenco Impression

S. Behrend - Trianas

S. Behrend - Two pieces for Jim

G. Belloni - Two Sarabands

A. Bernardini - MagoasValsa

L. van Beethoven - Andante

L. van Beethoven - Andante from Sonatas no.23 and 30

L. van Beethoven - Apassionata (Tarrega)

L. van Beethoven - Moonlight Sonata (Tarrega)

L. van Beethoven - Largo

L. van Beethoven - Marcia Funebre (Tarrega)

L. van Beethoven - Three Valses

G. Biberian - Sonata No.3

J. Bittner - Suite

J. Bobrowicz - Grande Polonaise

J. Bobrowicz - Grandes Variations on Mozart theme Op.6

J. Bobrowicz - Great Medley Op.21

J. Bobrowicz - Intro with Variations Op.20

J. Bobrowicz - March

J. Bobrowicz - Ukrainian Song Op.7

J. Bobrowicz - Variations on Rossini theme Op.16

C. Bonilla Chavez - Preludio Y Yumbo

R. Borges - Venezuelan dance

J. Bosch - Ballade

J. Bosch - Pasa Calle

J. Bosch - Violoncello

G.A. Brescianello - Sonatas and Partitas

Vocal Release Systems - professional singing secrets

B. Britten - Nocturnal

F. Burkhart - Passacaglia

M. Byatt - P.C. In Blue

 

Download: Sheet Music B

Sheet Music Collection (A)

M. Abloniz - Bossa Nova

M. Abloniz - Tangillo

S. Abreou - Tiko Tiko

D. Aguado - Air Espagnol Variations

D. Aguado - Andante No.1

D. Aguado - Estudios, and other short pieces

D. Aguado - Fandango

D. Aguado - Gran Solo de Sor

D. Aguado - Guitar Method part 1

D. Aguado - Guitar Method part 2

D. Aguado - Guitar Method part 3

D. Aguado - Six minuets and six valses

D. Aguado - Three Rondo Brillants

I. Albeniz - Asturias Leyenda

I. Albeniz - Cadiz

I. Albeniz - Cataluna

I. Albeniz - Cordoba

I. Albeniz - Cuba

I. Albeniz - Danza Espanola no.3

I. Albeniz - Granada

I. Albeniz - Malaguena Op.165 no.3

I. Albeniz - Mallorca

I. Albeniz - Rumores de Caleta

I. Albeniz - Saltarello

I. Albeniz - Sevilla

I. Albeniz - Tango Op.165 no.2

I. Albeniz - Torre Bermeja

I. Albeniz - Zambra

I. Albeniz - Puerta De Tierra

H. Albert - Altspanisches Lied

H. Albert - Altwiener Walzer Idyll

H. Albert - Elegische Mazurka

H. Albert - Intermezzo

H. Albert - Menuet in G major

H. Albert - Sonata no.1

T. Albinoni - Adagio

N. Alfonso - Trois Etudes

E. Amador - Estudio Para el Dedo Quinto

E. Amador - Estudio Para la Mano Izquierda Sola

E. Angulo - Lento

M. Anido - Barcarole

M. Anido - National Song

M. Anido - Vidalita

M. Anido - Yukatan Song

Anonymous - A big collection of the unknown authors!

Anonymous - El Condor Pasa

J. Arcas - Andante Y Estudio

J. Arcas - Bolero

J. Arcas - Bolero in D minor

J. Arcas - Dream (a tremolo study)

J. Arcas - El Fagot

J. Arcas - Fantasia

J. Arcas - Gaetana (Mazurka)

J. Arcas - Il Bacio

J. Arcas - Jota Aragonesa

J. Arcas - La Saltarina

J. Arcas - Los Panaderos

J. Arcas - Manuelito

J. Arcas - Two Minuets

J. Arcas - Polaca Fantastica

J. Arcas - Polonesa

J. Arcas - Preludio

J. Arcas - Preludio from Wilhelm Tell

J. Arcas - Rondena

J. Arcas - Tanda de Valses

J. Azpiazu - Spanish Dances

 

Download: Sheet Music A

David Oakes: Classical And Fingerstyle Guitar Techniques

 

In this Musicians Institute Master Class edition, David Oakes teaches both fundamental and advancing Classical and fingerstyle guitar techniques. Aimed at any guitarist who wants a quick, thorough grounding in the essential techniques of fingerpicking and classical styles style guitar technique this book covers free stroke and rest stroke, natural and artificial harmonics, three-to-a-string patterns.

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The Dance of Yi People - 彝族舞曲

Dance of the Yi People, sometimes also called Dance of the Yi Tribe or Yi Dance is one of the most popular solo compositions for the pipa, a four-stringed pear-shaped fretted lute used as one of the primary traditional musical instruments of China. Unlike the martial-sounding Ambushed From All Sides, the other most widely performed solo pipa piece, Dance of the Yi People is predominantly lyrical in character.

Dance of the Yi People was composed in 1960 by the Chinese composer Wang Huiran, presumably based on traditional music of the Yi people of southern China.

 Download Score

I put 2 versions here, one is performed by XueFei Yang and one by 殷飚.

 

China Folk Song: Feng Yang Flower Drum 鳳陽花鼓

 

Fengyang Flower Drum is also called Double-struck Drum. It was originally performed by two sisters-in-law. One beat the drum; the other beat the gong and sang. The songs were about people's sad life in the past. Since the open and reform of China, the form and contents of this art have got a great development.

It mainly serves for enjoyment. In the past, there were only two persons acting antiphonal singing. However, song, dance and opera have been developed combined together later on. In nowadays, there are two people acting singing and dancing, people leading singing and dancing and a group of people singing and dancing together.

The singing is more popular both in urban areas and countryside. Fengyang people often perform this art enthusiastically to celebrate their happy events or to welcome their guests. Modern skills have been absorbed into the art.

With its local flavor and more varieties, Fengyang Flower-drum is becoming more and more popular. In recent years, the troupes have performed both at home and abroad and won many prizes.

Chinese Folk Song: Spring Moonlight on the Flowers by the River 春江花月夜

Spring Moonlight on the Flower by the River performed by 殷飚 on guitar. It was original written fro Pipa, a traditional Chinese string instrument.

Spring Moonlight on the Flowers by the River is one of the most famous Chinese traditional music works. It had been popular among ordinary people before the year 1875, and has become one of the masterpieces in the treasury of Chinese classical music. 

Left Hand Preparation and Accuracy

Many people think (I myself included at one time) "If I just repeat this hard left hand section enough times, eventually I will get it."

While repetition is important for building endurance, it is the wrong way to try to obtain left-hand accuracy.

The problem in a difficult shift, chord, stretch, etc. is not necessarily what you are getting to - it’s HOW you are getting to it.

The following is an exercise for Left Hand Preparation. Once the pattern is learned, it should be played on many sets of strings - for example - strings 1 and 4, 5 and 2, 6 and 3, 6 and 2 etc... It should be repeated without pausing about 10 times - then make sure you rest your hand.

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1-----2-----3----4
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3-----4-----1----2
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The lines represent the strings - (top to bottom = highest to lowest), the numbers represent the left-hand fingering (you play two notes together at all times).

For this exercise to be really effective, you must make sure of a few things -

1. The left hand must prepare as soon as possible for the notes it will play next. This means - as you execute one pair of notes, you'll prepare completely over the strings and frets for the next pair of notes.
2. The exercises must be completely legato. Try not to have any spaces in the sound due to the left hand lifting off of the strings early - or the right hand putting its fingers down on the strings early.
3. The left-hand fingers must be placed down at the same time - not one, and then the other.

The point of this exercise is to get the left hand to start thinking (and preparing) ahead of itself. This small statement is the key to solid left-hand accuracy.

Hand Coordination

One of the topics that is rarely discussed in classical guitar technique is true hand coordination. Basically, this means that when one hand moves, the other must move at the same time with the same speed.

On paper this seems easy, but it is rare to find someone with absolutely flawless hand coordination in their playing. Without proper training of this technique, the player will experience non-legato playing, clicks, and "ghost" notes from the lifting of the left hand too soon. These unwanted sounds are common among students of the classical guitar.

The following are 5 exercises that I use to improve hand coordination- repeat them on many different strings in many different positions.

4-3-2-1-1-2-3-
3-2-1-4-3-2-
2-1-3-2-4-3
3-4-3-2-1-2
4-3-4-3-2-3-2-1-2

These are left hand fingerings. The Right Hand should do ALL of the following fingerings- im,mi,am,ma,ami,ima,pm,pi.

The key is listening- when you play the exercise at a slow tempo- do you hear clicks? Do you hear a tiny space? Do you hear the left- hand lift before you play the right- hand?

In any of these cases it means that your hands are not totally coordinated! You have to move the right-hand fingers through the string at the same time your left-hand frets the string. Do not stop the string before you play it! The movements should be very fast and together- like a fine machine.

Once you start understanding this principle better- try to incorporate it into your pieces.

This technique is essential for good sound and rhythmic vitality for any style of music.