This has always been one of my favorite Sonatas of the Baroque era. Surprisingly, it was not even written for guitar! Domenico Scarlatti is one of the rare keyboard composers whose music actually fits on the guitar. Not only that, his music sounds better on guitar than it does on the keyboard. Much of this has to do with the subtleties that the guitar possesses (tone color possibilities, vibrato, and a gentle nature). In this Sonata I would like you to focus on phrasing. If you are unfamiliar with that term, do not be alarmed. Just think of phrases as musical sen...

As I said in the first video, your phrase shape will typically follow the shape of the melody. As you can see in this first phrase, it really consists of two micro-phrases. The melody descends throughout measure 3 and then ascends throughout measure 4. Many people would phrase this entire phrase in two parts but that would be incorrect because there is no cadence in measure 4. Your dynamics(volume) should follow the shape of the melody but make sure that you do not take the breath until the end of the large phrase. That way we will hear it as one big phrase while still...

Heitor Villa-Lobos (1887-1959) Segovia's preface to the twelve etudes: "Here are the twelve 'Etudes' written with love for the guitar by the genial Brazilian composer Heitor Villa-Lobos. They contain at the same time formulae of surprising effectiveness for the development of technique for both hands and 'disinterested' musical beauties, without didactic purpose, which have the permanent aesthetic value of concert works. In the history of the instruments there are few master composers who have managed to combine both virtues in th...

This is a fairly standard classical arpeggio pattern that is useful to have in your arsenal. The right hand pattern is: T I M A M I. It's very difficult to play at first but once you get down it will flow very naturally. Make sure you practice it at a slow tempo, as I always recommend, to improve accuracy and control. This is an excerpt from Johann Kasper-Mertz's Fingals Cave.

In this lesson, we are going to use the standard right hand pattern for Villa-Lobos Etude 1. I have broken the first measure of the piece into 5 note groups which is how I would like you to practice it. You should alternate between eighth and sixteenth notes and repeat the patterns as many times as you like until it feels comfortable. I highly recommend that you look into more of Villa-Lobos' music either by either sampling it on itunes or buying the sheet music. His music has many South-American folkloric elements and appeals to both a mainstream ...

This lesson is intended to work on classical guitar right hand harmonics. To demonstrate I am just going to use a standard E minor chord. First pluck each string individually. Then go 12 frets up from each note and pluck the harmonic with your right hand "a" finger while placing your index finger of your right hand barely on the sting right at the fret line. It is a little tricky at first but will become second nature with some practice. Good luck!

This tutorial focuses on the classical and flamenco technique called "tremolo". It is very important that you follow this tutorial step by step and practice each excercise exactly as I say. Repeat the each video a few times and listen closely to my instructions. You should also check back periodically to remind yourself of what I say. If you use these excercises as a warmup routine, you will notice significant improvement in your right hand. Please email any questions or comments. p = thumb i = index m = middle a = ring

This second phrase is interesting because it does not really follow the basic outline I gave you at all. That is, it does not really rise to a climax in the middle and descends to the end. In general, it sort of leaps around for a while but the descent at the end is present. What I try to do here is follow in dynamics with what the melody is doing (kind of micro-phrasing) but do not ritardando (slow down) until the end. Make sure you keep your left hand fingers down for as long as possible. An exception to this should be made in cases where you do not want two melody...

Here is the second half of the piece. What a beautiful composition!

This is the first half of the piece performed at my Graduate Recital in Ganz Hall at the Chicago College of Performing Arts. You may notice that I ornament many of the phrases during the repeat. You may do so as well but I would recommend just playing the piece as it is written for now.

Now, we will work on the same 5 note groupings that you have seen before but with only fingers P and I on the right hand. I know of some very famous guitarists that always use this fingering when performing this etude. However, in our case, we are just looking to strengthen every finger combination on the right hand so that no combination of fingering in an actual piece will throw us off. p=thumb i=index m=middle a=ring

The first two excercises seem basic but do not take them lightly. Focus on keeping your tone consistent and make sure you dig into the string properly. Use the planting technique discussed at the beginning of the video. It will bring you noticable results. p = thumb i = index m = middle a = ring

This is one of my favorite parts of the piece because as guitarists we can do something the pianists cannot. Since this phrase marks an important contrast from the two preceding phrases, it is nice to change our tone color here. I opt for a dolce (sweet sound, right hand towards the bridge) tone. Although the first part of the phrase is purely arpeggios (broken chords), Scarlatti is building intensity through chromaticism and as the intensity builds so should your volume. Again, as the melody falls at the the end of the phrase, your volume should decrease to piano (soft...

These four note patterns present a much bigger hurdle than the two note excercises did. Set the metronome very slow at first and focus on control. You will have plenty of time to crank the metronome up later after these combinations feel comfortable. p = thumb i = index m = middle a = ring

This five note combination is the flamenco tremolo pattern. Like the four note patterns, it is very difficult to learn at first. Make sure you do not go too fast in the beginning. Accuracy is much more important than speed. p = thumb i = index m = middle a = ring

This is a great exercise for any classical or flamenco guitarist. It comes from the Flamenco form Soleares. This exercise aims to increase speed and control of the thumb. If you do this everyday, you will notice a significant increase in dexterity of the thumb. It is difficult at first so be sure and take it at a reasonable speed. Remember, accuracy before speed; after all it is just an exercise. I notated the right hand fingerings above. Enjoy! p = pulgar (thumb) i = index m = middle a = ring

These next excercises are all just different combinations for the right hand. Do not underestimate the importance of using every combination that you can. Consistent, controlled practice of these excercises on a daily basis will give you gorgeous tremolo. Try to keep your tone consistent throughout. p = thumb i = index m = middle a = ring

This is an example of reaching beyond your actual goal for the purpose of making the actual goal easier. These six note patterns can give any professional a run for their money at certain speeds. Just remember that they are going to feel really awkward to everyone and it is almost impossible to play them flawlessly. Go slow. p = thumb i = index m = middle a = ring

Now we will add in the Malaguena theme in the bass as the other fingers play various patterns. These are similar in difficulty to the four note patterns we did earlier but playing the theme in the bass makes this more practical. p = thumb i = index m = middle a = ring

Here are the final two excercises. Once again, you have seen the finger patterns before but it is important to add in the Malaguena bass. Note: These are difficult for any professional. Do not be too obsessive about getting everything perfect. Just try to be in control and you will feel the benefits of these workouts. p = thumb i = index m = middle a = ring

Here is the extension of the five-note patterns. p=thumb i=index m=middle a=ring

Now you will play the fingerings [pami], [pima], and [piami] with the Malaguena theme in the bass. Remember to set the metronome at a slow speed. Uneven or sloppy tremolo is a huge turn-off for the listener. p = thumb i = index m = middle a = ring

For some people, the finger combination p and m is stronger than p and i (myself included). One of the nice things about playing all of these different finger combos is that you learn what works for you and what doesn't. For instance, I have heard that the virtuoso guitarist, David Starobin, plays all of his scales with fingers p and i on the right hand. I, myself, would never try since my p i combination is so weak but he pulls it off brilliantly. Find out what works best for your hands in all situations and use that as your guide. p=thumb i=index...

Now we will extend the 5 note patterns we practiced in the last video into 9 note groups and finally the full pattern. Going through these patches step by step ensures that your arpeggios will sound clean and even throughout the full pattern. Be sure to set the metronome at a speed that does not feel out of control at all.

Now we will do the five note groupings with fingers p and a. Because your ring finger is the weakest of the right hand fingers, this combination is usually a little awkward. Nonetheless, it is great for strengthening the a finger. p=thumb i=index m=middle a=ring

This is one of my favorite pieces from the Baroque era. It is somewhat challenging but worth every ounce of effort you put into it. We will work on the piece one phrase at a time and discuss different approaches to phrasing.

This tutorial takes you step-by-step through a Villa-Lobos etude.

The left hand is neglected somewhat in classical guitar playing but is nonetheless a key factor in your success. With these simple exercises you should have a solid foundation in which to warm up your left hand on a daily basis.

Tremolo can be a significant addition to your arsenal if learned correctly. These excercises start with the very basics and then move into the extreme. If you are an advanced player, you still need to do the basics everyday to get the full results. Good luck!

These lessons focus on advanced classical guitar techniques like tremolo, harmonics, and specialized thumb techniques.

This is a fairly standard classical arpeggio pattern that is useful to have in your arsenal. The right hand pattern is: T I M A M I. It's very difficult to play at first but once you get down it will flow very naturally. Make sure you practice it at a slow tempo, as I always recommend, to improve accuracy and control. This is an excerpt from Johann Kasper-Mertz's Fingals Cave.