INDEX TO TECHNIQUE TIPS
Listed Alphabetically by Composer of Musical Example
Provided in Technique Tip
COMPOSER | MUSICAL EXAMPLE MENTIONED IN ARTICLE | TITLE OF ARTICLE |
|---|---|---|
Aguado, Dionisio |
Study in A minor (Dionisio Aguado) |
Guide Fingers |
Albéniz, Isaac |
Capricho Catalan (Isaac Albéniz) |
The Anchor Finger Technique |
Albéniz, Isaac |
Córdoba (Isaac Albéniz) |
Specialty Bars Part 3: Partial Bars |
Albéniz, Isaac |
Granada (Isaac Albéniz) |
Interval and Chord Balance Part 3 of 4 |
Albéniz, Isaac |
Leyenda and Sevilla (Isaac Albéniz) |
Rasgueados, Part 3 of 3 |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
Cross-String Ornaments, Part 3 of 3 |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
Double Thumb Stroke |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
Guide Fingers |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
How to Play Staccato, Part 2 of 3 |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
How to Start a Piece at the Correct Tempo |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
Left-Hand Thumb |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
Pizzicato |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
Playing On the Tips of the Fingers |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
Specialty Bars Part 3: Partial Bars |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
String Squeaks and Romeo and Juliet |
Albéniz, Isaac |
Leyenda, Asturias (Isaac Albéniz) |
Tone Color, Part 2 |
Albéniz, Isaac |
Musical Example |
Tone Color, Part 3 |
Albéniz, Isaac |
Malagueña, Op. 165 No. 3 (Isaac Albéniz) |
How to Play Staccato, Part 3 of 3 |
Anonymous |
Down In The Valley (Anonymous) |
Interval and Chord Balance Part 1 of 4 |
Anonymous |
First Call (Anonymous) |
Tone Color, Part 3 |
Anonymous |
Malagueña |
Rasgueados, Part 3 of 3 |
Anonymous |
Romance, Romanza (Anonymous) |
Know What You Are Playing—Sing! |
Anonymous |
Romance, Romanza (Anonymous) |
String Damping, Part 1 |
Anonymous |
Romance, Romanza (Anonymous) |
String Damping, Part 2 |
Anonymous |
Romanza, Romance (Anonymous) |
Guide Fingers |
Anonymous |
Musical Example |
How to Play Loud on the Guitar |
Anonymous |
Romanza, Romance (Anonymous) |
How to Use Hinge Bars as Guide Fingers |
Anonymous |
Romanza, Romance (Anonymous) |
Shifting |
Anonymous |
Romanza, Romance (Anonymous) |
Top Ten Nasty Habits #1, Allowing Left-Hand Fingers to "Help" a Bar |
Anonymous |
Romanza, Romance (Anonymous) |
Vibrato, Part 2 |
Anonymous |
Twinkle, Twinkle Little Star |
Vibrato, Part 2 |
Anonymous |
Twinkle, Twinkle Little Star (Anonymous) |
String Damping, Part 1 |
Anonymous |
Twinkle, Twinkle Little Star (Anonymous) |
String Damping, Part 2 |
Anonymous |
Twinkle, Twinkle Little Star (Anonymous) |
String Damping, Part 3 |
Arlen, Harold |
Somewhere Over the Rainbow (Harold Arlen) |
Cascading Harmonics for Classical Guitarists |
Arnold, Malcolm |
Fantasy for Solo Guitar, Op. 107 (Malcolm Arnold) |
Snare Drum Effect, Part 2 of 2 |
Bacarisse, Salvador |
Passapie (Salvador Bacarisse) |
Fast Guitar Scales With "ami" |
Bach, J.S. |
Allemande, from Lute Suite No. 1, BWV 996 (J.S. Bach) |
Practicing in Altered Rhythms |
Bach, J.S. |
Allemande, from Lute Suite No. 1, BWV 996 (J.S. Bach) |
String Damping, Part 4 |
Bach, J.S. |
Bouree, from Lute Suite No. 1, BMV 996 (J.S. Bach) |
How to Use Reflex Practice to Master Fast, Difficult Passages Other than Scales |
Bach, J.S. |
Bouree, from Lute Suite No. 1, BWV 996 (J.S. Bach) |
Cross-String Ornaments, part 3 of 3 |
Bach, J.S. |
Bouree, from Lute Suite No. 1, BWV 996 (J.S. Bach) |
Do I Play the Repeats in My Music? |
Bach, J.S. |
Bouree, from Lute Suite No. 1, BWV 996 (J.S. Bach) |
Know What You Are Playing—Sing! |
Bach, J.S. |
Bouree, from Lute Suite No. 1, BWV 996 (J.S. Bach) |
Playing On the Tips of the Fingers |
Bach, J.S. |
Bouree, from Lute Suite No. 1, BWV 996 (J.S. Bach) |
String Damping, Part 3 |
Bach, J.S. |
Bouree, from Lute Suite No. 1, BWV 996 (J.S. Bach) |
The Anchor Finger Technique |
Bach, J.S. |
Bouree, from Lute Suite No. 1, BWV 996 (J.S. Bach) |
The Old Kleenex Trick |
Bach, J.S. |
Cello Suite No. 1 (J.S. Bach) |
How to Choose Right-Hand Fingerings, Part 3 |
Bach, J.S. |
Courante, Lute Suite No. 1, BWV 996 (J.S. Bach) |
Right-Hand Finger Alternation |
Bach, J.S. |
Courante, Lute Suite No. 1, BWV 996 (J.S. Bach) |
Specialty Bars Part 3: Partial Bars |
Bach, J.S. |
Courante, Lute Suite No. 1, BWV 996 (J.S. Bach) |
The Anchor Finger Technique |
Bach, J.S. |
Fugue, BWV 1000 (J.S. Bach) |
String Damping, Part 4 |
Bach, J.S. |
Fugue, from Prelude, Fugue, and Allegro, BWV 998 (J.S. Bach) |
How to Start a Piece at the Correct Tempo |
Bach, J.S. |
Fugue, from Prelude, Fugue, and Allegro, BWV 998 (J.S. Bach) |
Interval and Chord Balance Part 1 of 4 |
Bach, J.S. |
Fugue, from Prelude, Fugue, and Allegro, BWV 998 (J.S. Bach) |
Mark Up Your Music |
Bach, J.S. |
Fugue, from Prelude, Fugue, and Allegro, BWV 998 (J.S. Bach) |
Right-Hand Finger Alternation |
Bach, J.S. |
Fugue, from Prelude, Fugue, and Allegro, BWV 998 (J.S. Bach) |
String Damping, Part 4a> |
Bach, J.S. |
Fugue, from Sonata No. 1, BWV 1000 (J.S. Bach) |
Right-Hand Finger Alternation |
Bach, J.S. |
Jesu Joy of Man's Desiring |
Transcriptions and Arrangements |
Bach, J.S. |
Jesu Joy of Man's Desiring (J.S. Bach) |
How to Use Hinge Bars as Guide Fingers |
Bach, J.S. |
Jesu Joy of Man's Desiring (J.S. Bach) |
Interval and Chord Balance Part 2 of 4 |
Bach, J.S. |
Lute Suite No. 1, BMV 996 (J.S. Bach) |
How to Play Staccato, Part 3 of 3 |
Bach, J.S. |
Lute Suite No. 1, BMV 996 (J.S. Bach) |
How to Use Reflex Practice to Master Fast, Difficult Passages Other than Scales |
Bach, J.S. |
Lute Suite No. 1, BWV 996 (J.S. Bach) |
Cross-String Ornaments, part 3 of 3 |
Bach, J.S. |
Lute Suite No. 1, BWV 996 (J.S. Bach) |
Do I Play the Repeats in My Music? |
Bach, J.S. |
Lute Suite No. 1, BWV 996 (J.S. Bach) |
Know What You Are Playing—Sing! |
Bach, J.S. |
Lute Suite No. 1, BWV 996 (J.S. Bach) |
Playing On the Tips of the Fingers |
Bach, J.S. |
Lute Suite No. 1, BWV 996 (J.S. Bach) |
Practicing in Altered Rhythms |
Bach, J.S. |
Lute Suite No. 1, BWV 996 (J.S. Bach) |
Right-Hand Finger Alternation |
Bach, J.S. |
Lute Suite No. 1, BWV 996 (J.S. Bach) |
Specialty Bars Part 1: Hinge Bars |
Bach, J.S. |
Lute Suite No. 1, BWV 996 (J.S. Bach) |
String Damping, Part 3 |
Bach, J.S. |
Lute Suite No. 1, BWV 996 (J.S. Bach) |
The Old Kleenex Trick |
Bach, J.S. |
Lute Suite No. 3, BWV 995 (J.S. Bach) |
How to Count the Rhythms in Songs Written in Multiple Parts |
Bach, J.S. |
Prelude from Lute Suite No. 1, BWV 996 (J.S. Bach |
Specialty Bars Part 1: Hinge Bars |
Bach, J.S. |
Prelude from Lute Suite No. 3, BWV 995 (J.S. Bach) |
How to Count the Rhythms in Songs Written in Multiple Parts |
Bach, J.S. |
Prelude in D minor (originally C minor), BWV 999 (J.S. Bach) |
String Damping, Part 3 |
Bach, J.S. |
Prelude, from Cello Suite No. 1 (J.S. Bach) |
How to Choose Right-Hand Fingerings, Part 3 |
Bach, J.S. |
Prelude, from Cello Suite No. 1 (J.S. Bach) |
Learn to Collapse Your Left-Hand Fingertip Joints |
Bach, J.S. |
Prelude, Fugue, and Allegro, BMV 998 (J.S. Bach) |
String Damping, Part 4 |
Bach, J.S. |
Prelude, Fugue, and Allegro, BWV 998 (J.S. Bach) |
Mark Up Your Music |
Bach, J.S. |
Prelude, Fugue, and Allegro, BWV 998 (J.S. Bach) |
Right-Hand Finger Alternation |
Bach, J.S. |
Prelude, Fugue, and Allegro, BWV 998 (J.S. Bach) |
Right-Hand Finger Alternation |
Bach, J.S. |
Presto of the Prelude from Lute Suite No. 1, BMV 996 (J.S. Bach) |
How to Play Staccato, Part 3 of 3 |
Ball, Ernest |
When Irish Eyes are Smiling (Ernest Ball) |
Sight Reading |
Barrios, Agustín |
Mazurka Apassionata (Agustín Barrios Mangoré) |
Left-Hand Thumb |
Beethoven, Ludwig Van |
Ode to Joy from Symphony #9 (Ludwig Van Beethoven) |
Chord Changes |
Beethoven, Ludwig Van |
Sonata, Op. 13 (Ludwig Van Beethoven) arr. Francisco Tárrega |
How to Read Harmonic Notation |
Bernstein, Leonard |
America from "West Side Story" (Leonard Bernstein) arr. Jorge Morel |
Hemiola: Switching from 6/8 to 3/4 Meter |
Britten, Benjamin |
Nocturnal (Benjamin Britten) |
Playing in High Positions |
Britten, Benjamin |
Nocturnal, "Dreaming" (Benjamin Britten) |
How to Read Harmonic Notation> |
Brouwer, Leo |
Un Dia de Noviembre (Leo Brouwer) |
How to Choose Right-Hand Fingerings, Part 2 |
Bustamente, Fernando |
Misionera (Fernando Bustamente) |
Pizzicato |
Carcassi, Matteo |
Study No. 3 in A Major, Op. 60, No. 3 (Matteo Carcassi) |
Guide Fingers |
Carcassi, Matteo |
Study No. 3 in A Major, Op. 60, No. 3 (Matteo Carcassi) |
How to Choose Right-Hand Fingerings, Part 2 |
Carcassi, Matteo |
Study No. 3 in A Major, Op. 60, No. 3 (Matteo Carcassi) |
Pre-Planting At the Beginning of a Piece |
Carcassi, Matteo |
Study No. 3 in A Major, Op. 60, No. 3 (Matteo Carcassi) |
Specialty Bars Part 3: Partial Bars |
Carcassi, Matteo |
Study No. 3 in A Major, Op. 60, No. 3 (Matteo Carcassi) |
String Damping, Part 2 |
Carcassi, Matteo |
Study No. 3 in A Major, Op. 60, No. 3 (Matteo Carcassi) |
Top Ten Nasty Habits #1, Allowing Left-Hand Fingers to "Help" a Bar |
Carcassi, Matteo |
Study No. 5, op. 60, no. 5 (Matteo Carcassi) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Carcassi, Matteo |
Study No. 7 in A minor, op. 60, no. 7 (Matteo Carcassi) |
Playing On the Tips of the Fingers |
Carcassi, Matteo |
Study No. 7 in A minor, op. 60, no. 7 (Matteo Carcassi) |
Pre-Planting At the Beginning of a Piece |
Carcassi, Matteo |
Study No. 7 in A minor, op. 60, no. 7 (Matteo Carcassi) |
The Anchor Finger Technique |
Carlevaro, Abel |
Carlevaro Scales (Abel Carlevaro) |
Scales, Part 1 of 2 |
Carman, Brian and Spickard, Bob |
Pipeline (Brian Carman, Bob Spickard) |
Pizzicato |
Carulli, Ferdinando |
Andante Op. 241, No. 5, (Ferdinando Carulli) |
Top Ten Nasty Habits #2, Pushing the Little Finger Around |
Carulli, Ferdinando |
English Dance (Ferdinando Carulli) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Carulli, Ferdinando |
English Dance (Ferdinando Carulli) |
The Anchor Finger Technique |
Carulli, Ferdinando |
Etude (Ferdinando Carulli) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Carulli, Ferdinando |
Waltz (Ferdinando Carulli) |
Guide Fingers |
Chilesotti, trans. Oscar |
Danza from Six Lute Pieces of the Renaissance (trans. Oscar Chilesotti) |
Pre-Planting At the Beginning of a Piece |
Chilesotti, trans. Oscar |
Danza from Six Lute Pieces of the Renaisssance (trans. Oscar Chilesotti) |
How to Play Loud on the Guitar |
Chilesotti, trans. Oscar |
Gagliarda from Six Lute Pieces of the Renaissance (trans. Oscar Chilesotti) |
Right-Hand Finger Alternation |
Chilesotti, trans. Oscar |
Gagliarda from Six Lute Pieces of the Renaissance (trans. Oscar Chilesotti) |
String Damping, Part 2 |
Chilesotti, trans. Oscar |
Six Lute Pieces of the Renaissance (trans. Oscar Chilesotti) |
Know What You Are Playing—Sing! |
Chilesotti, trans. Oscar |
Six Lute Pieces of the Renaissance (trans. Oscar Chilesotti) |
The Anchor Finger Technique |
Chilesotti, trans. Oscar |
Six Lute Pieces of the Renaissance (trans. Oscar Chilesotti) |
Tone Color, Part 2 |
Chilesotti, trans. Oscar |
Six Lute Pieces of the Renaissance (trans. Oscar Chilsotti) |
How to Play Loud on the Guitar |
Chilesotti, trans. Oscar |
Six Lute Pieces of the Renaissance (trans. Oscar Chilsotti) |
Right-Hand Finger Alternation |
Debussy, Claude |
Girl With the Flaxen Hair (Claude Debussy) |
Natural, Right Hand, and Artificial Harmonics |
Dowland, John |
Allemande (John Dowland) |
String Damping, Part 3 |
Dowland, John |
Fantasie (John Dowland) |
How to Start a Piece at the Correct Tempo |
Duarte, John |
English Suite (John Duarte) |
Specialty Bars Part 3: Partial Bars |
Emmett, Daniel Decatur |
Dixie (Daniel Decatur Emmett) |
Sight Reading |
Falla, Manuel de |
Omaggio (Manuel de Falla) |
How to Read Harmonic Notation |
Falla, Manuel de |
The Millers Dance (Manuel de Falla) |
Rasgueados, Part 3 of 3 |
Frescobaldi, Girolamo |
La Frescobalda (Girolamo Frescobaldi) |
Tone Color, Part 2 |
Galilei, Vicenzo |
Saltarello (Vicenzo Galilei) |
Interval and Chord Balance Part 2 of 4 |
Galilei, Vicenzo |
Saltarello (Vicenzo Galilei) |
The Anchor Finger Technique |
Galilei, Vincenzo |
Saltarello (Vicenzo Galilei) |
Slurs |
Giuliani, Mauro |
Allegro Spiritoso, Op. 1, No. 10 (Mauro Giuliani) |
String Damping, Part 4 |
Giuliani, Mauro |
Grand Overture (Mauro Giuliani) |
How to Start a Piece at the Correct Tempo |
Giuliani, Mauro |
Grand Overture (Mauro Giuliani) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Giuliani, Mauro |
Grand Overture (Mauro Giuliani) |
Specialty Bars Part 2: Cross-Fret Bars |
Giuliani, Mauro |
Grand Overture (Mauro Giuliani) |
String Damping, Part 3 |
Giuliani, Mauro |
Rondeau, Op. 3, No. 1 (Mauro Giuliani) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Giuliani, Mauro |
Rondeau, Op. 14, No. 5 (Mauro Giuliani) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Giuliani, Mauro |
Rondeau, Op. 31, No. 1 (Mauro Giuliani) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Giuliani, Mauro |
Rossiniana No. 1 Op. 119 (Mauro Giuliani) |
Mark Up Your Music |
Giuliani, Mauro |
Rossiniana No. 1 Op. 119 (Mauro Giuliani) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Giuliani, Mauro |
Rossiniana No. 1, Op. 119 (Mauro Giuliani) |
Specialty Bars Part 2: Cross-Fret Bars |
Giuliani, Mauro |
Rossiniana No. 1, Op. 119 (Mauro Giuliani) |
Specialty Bars Part 3: Partial Bars |
Giuliani, Mauro |
Rossiniana No. 4, Op. 122 (Mauro Giuliani) |
How to Play Staccato, Part 3 of 3 |
Giuliani, Mauro |
Sonata in C Major, op. 15 |
Specialty Bars Part 1: Hinge Bars |
Giuliani, Mauro |
Studies for Guitar, Op. 1a, No. 4 (Mauro Giuliani) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Granados, Enrique |
La Maja de Goya (Enrique Granados) |
Cross-String Ornaments, part 3 of 3 |
Granados, Enrique |
La Maja de Goya (Enrique Granados) |
Pizzicato |
Granados, Enrique |
Spanish Dance No. 5 (Enrique Granados) |
Anchor Finger Technique |
Granados, Enrique |
Spanish Dance No. 5 (Enrique Granados) |
Left-Hand Thumb |
Granados, Enrique |
Spanish Dance No. 5 (Enrique Granados) |
Natural, Right Hand, and Artificial Harmonics |
Granados, Enrique |
Spanish Dance No. 5 (Enrique Granados) |
Tone Color, Part 2 |
Granados, Enrique |
Spanish Dance No. 5 (Enrique Granados) |
Top Ten Nasty Habits #1, Allowing Left-Hand Fingers to "Help" a Bar |
Grieg, Edvard |
In the Hall of the Mountain King (Edvard Grieg) from Peer Gynt, Suite No. 1 , Op. 46 |
How to Play Staccato, Part 2 of 3 |
Handel, Georg Friederic |
Sarabande from Suite in D minor, HWV 437 (Georg Friederic Handel) |
String Damping, Part 4 |
Jagger, Mick and Richards, Keith |
(I Can't Get No) Satisfaction (Mick Jagger, Keith Richards) |
Pizzicato |
Jagger, Mick and Richards, Keith |
(I Can't Get No) Satisfaction (Mick Jagger, Keith Richards) |
Specialty Bars Part 3: Partial Bars |
Johnson, Robert |
Alman (Robert Johnson) |
How to Choose Right-Hand Fingerings, Part 2 |
Johnson, Robert |
Alman (Robert Johnson) |
Playing On the Tips of the Fingers |
Johnson, Robert |
Alman (Robert Johnson) |
String Damping, Part 3 |
Johnson, Robert |
Alman (Robert Johnson) |
String Damping, Part 4 |
Koshkin, Nikita |
Playing Soldiers (Tin Soldiers) from Prince's Toys (Nikita Koshkin) |
Snare Drum Effect, Part 2 of 2 |
Koshkin, Nikita |
Prince's Toys (Nikita Koshkin) |
Snare Drum Effect, Part 2 of 2 |
Koshkin, Nikita |
Tin Soldiers (Playing Soldiers) from Prince's Toys (Nikita Koshkin) |
Snare Drum Effect, Part 2 of 2 |
Lauro, Antonio |
Vals Venezolano, Venezuelan Waltz (Antonio Lauro) |
How to Choose Right-Hand Fingerings, Part 2 |
Lauro, Antonio |
Vals Venezolano, Venezuelan Waltz No. 3 (Antonio Lauro) |
Hemiola: Switching from 6/8 to 3/4 Meter |
Lauro, Antonio |
Vals Venezolano, Venezuelan Waltz No. 3 (Antonio Lauro) |
Know What You Are Playing—Sing! |
Lauro, Antonio |
Vals Venezolano, Venezuelan Waltz No. 3 (Antonio Lauro) |
Practicing in Altered Rhythms |
Leisner, David |
Nel Mezzo: Sonata (David Leisner) |
How to Read Harmonic Notation |
Llobet, Miguel |
Testament d'Amelia (Miguel Llobet) |
Double Thumb Strokes |
Llobet, Miguel |
Testament d'Amelia (Miguel Llobet) |
How to Read Harmonic Notation |
Llobet, Miguel |
Testament d'Amelia (Miguel Llobet) |
Natural, Right Hand, and Artificial Harmonics |
Mangoré, Agustín Barrios |
La Catedral, Preludio "Saudade" (Agustín Barrios Mangoré) |
Learn to Collapse Your Left-Hand Fingertip Joints |
Mangoré, Agustín Barrios |
La Catedral, "Andante Religioso" (Agustín Barrios Mangoré) |
Learn to Collapse Your Left-Hand Fingertip Joints |
Mangoré, Agustín Barrios |
La Catedral, "Allegro Solemne" (Agustín Barrios Mangoré) |
Learn to Collapse Your Left-Hand Fingertip Joints |
Mangoré, Agustín Barrios |
Mazurka Apassionata (Agustín Barrios Mangoré) |
Left-Hand Thumb |
Marshall, arr. Jack |
Afro-Cuban Lullaby (Arr. Jack Marshall) |
How to Choose Right-Hand Fingerings, Part 1 |
Milan, Luis |
Pavane No. 2 (Luis Milán) |
Interval and Chord Balance Part 1 of 4 |
Milan, Luis |
Pavane No. 3 (Luis Milán) |
Specialty Bars Part 1: Hinge Bars |
Milan, Luis |
Pavane No. 6 (Luis Milán) |
Interval and Chord Balance Part 1 of 4 |
Milán, Luis |
Pavane No. 3 (Luis Milán) |
String Damping, Part 4 |
Morel, Jorge |
Carioca (arr. Jorge Morel) |
The Right-Hand Little Finger, Part 1 of 2 |
Morel, Jorge |
Fantasia Española, Mosaico Española (Jorge Morel) |
Snare Drum Effect, Part 2 of 2 |
Morel, Jorge |
Mosaico Española, Fantasia Española (Jorge Morel) |
Snare Drum Effect, Part 2 of 2 |
Myers, Stanley |
Cavatina (Stanley Myers) |
Double Thumb Stroke |
Myers, Stanley |
Cavatina (Stanley Myers) |
Step Practice |
Negri, Cesare |
Bianco Fiore (Cesare Negri) |
Interval and Chord Balance Part 2 of 4 |
Negri, Cesare |
Bianco Fiore (Cesare Negri) |
Right-Hand Finger Alternation |
Negri, Cesare |
Bianco Fiore (Cesare Negri) |
Specialty Bars Part 1: Hinge Bars |
Negri, Cesare |
Bianco Fiore (Cesare Negri) |
The Anchor Finger Technique |
Ponce, Manuel |
Prelude No. 1 (Manuel Ponce) |
Interval and Chord Balance Part 3 of 4 |
Ponce, Manuel |
Prelude No. 2 (Manuel Ponce) |
Interval and Chord Balance Part 2 of 4 |
Ponce, Manuel |
Prelude No. 6 (Manuel Ponce) |
Interval and Chord Balance Part 2 of 4 |
Powell, Baden |
El Berimbau (Baden Powell) arranged by Cacho Tirao |
Snare Drum Effect, Part 2 of 2 |
Pujol, Emilio |
El Abejorro (Emilio Pujol) |
Arpeggio Exercises |
Ravel, Maurice |
Pavane for a Dead Princess (Maurice Ravel) |
Interval and Chord Balance Part 1 of 4 |
Ravel, Maurice |
Pavane for a Dead Princess (Maurice Ravel) |
Learn to Collapse Your Left-Hand Fingertip Joints |
Rimsky-Korsakov, Nicolai |
Capriccio Espagnol, "Scena e canto gitano" (Nicolai Rimsky-Korsakov) |
Pizzicato |
Rodrigo, Joaquin |
Concierto de Aranjuez (Joaquín Rodrigo) |
Fast Guitar Scales With "ami" |
Rodrigo, Joaquin |
Concierto de Aranjuez (Joaquín Rodrigo) |
Hemiola: Switching from 6/8 to 3/4 Meter |
Rodrigo, Joaquin |
Concierto de Aranjuez (Joaquín Rodrigo) |
Nailing Harmonics Past the 19th Fret |
Rodrigo, Joaquin |
Concierto de Aranjuez (Joaquín Rodrigo) |
Playing in High Positions |
Rodrigo, Joaquin |
Concierto de Aranjuez (Joaquín Rodrigo) |
Slurs |
Rodrigo, Joaquin |
Concierto de Aranjuez (Joaquín Rodrigo) |
The Anchor Finger Technique |
Sabicas |
Sitio de Zaragoza (Sabicas) |
Snare Drum Effect, Part 2 of 2 |
Sanz, Gaspar |
Canarios (Gaspar Sanz) |
Hemiola: Switching from 6/8 to 3/4 Meter |
Sanz, Gaspar |
Canarios (Gaspar Sanz) |
How to Choose Right-Hand Fingerings, Part 3 |
Sanz, Gaspar |
Pavanas (Gaspar Sanz) |
Interval and Chord Balance Part 2 of 4 |
Sanz, Gaspar |
Pavanas (Gaspar Sanz) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Satie, Erik |
Gymnopédie No. 1 (Erik Satie) |
Double Thumb Stroke |
Satie, Erik |
Gymnopédie No. 1 (Erik Satie) |
How to Start a Piece at the Correct Tempo |
Satie, Erik |
Gymnopédie No. 1 (Erik Satie) |
Playing in High Positions |
Satie, Erik |
Gymnopédie No. 1 (Erik Satie) |
Shifting |
Satie, Erik |
Gymnopédie No. 1 (Erik Satie) |
String Damping, Part 3 |
Satie, Erik |
Gymnopédie No. 1 (Erik Satie) |
String Damping, Part 4 |
Scarlatti, Domenico |
Sonata in A (Domenico Scarlatti) |
How to Choose Right-Hand Fingerings, Part 2 |
Segovia, Andrés |
Segovia Scales (Andrés Segovia) |
How to Play Staccato, Part 2 of 3 |
Segovia, Andrés |
Segovia Scales (Andrés Segovia) |
Scales, Part 1 of 2 |
Sicilian Traditional |
Tarantella (Sicilian Traditional) |
How to Choose Right-Hand Fingerings, Part 2 |
Sor, Fernando |
Allegretto moderato, Op. 44, No. 4 (Fernando Sor) |
Counting Out Loud—the Skill that Will Improve Your Guitar Playing More than Anything Else |
Sor, Fernando |
Andante (Fernando Sor) |
Sight Reading |
Sor, Fernando |
Exercise, Op. 35, No. 10 (Fernando Sor) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Sor, Fernando |
Exercise No. 13 from Twenty-Four Very Easy Exercises, Op. 35 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 2 |
Sor, Fernando |
Fantaisie, Op. 6 (Fernando Sor) |
How to Read Harmonic Notation |
Sor, Fernando |
Grand Solo, Op. 14 (Fernando Sor) |
How to Play Staccato, Part 3 of 3 |
Sor, Fernando |
Introduction to the Study of the Guitar, Op. 60 No. 10 (Fernando Sor) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Sor, Fernando |
Introduction to the Study of the Guitar, Op. 60 No. 5 (Fernando Sor) |
String Damping, Part 1 |
Sor, Fernando |
Lesson 1 from Twenty-Four Progressive Lessons, Op 31, Book 1 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
Lesson 2 from Twenty-Four Progressive Lessons, Op. 31, Book 1 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
Lesson No. 3 from Twenty-Four Progressive Lessons, Book 1 Op. 31 (Fernando Sor) |
String Damping, Part 3 |
Sor, Fernando |
Lesson No. 6 from 12 Progressive Lessons for Guitar, Op. 1, No. 6 (Mauro Giuliani) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Sor, Fernando |
Method for the Spanish Guitar (Fernando Sor) |
Practicing Intervals, Part 2. How to Master Playing Broken Intervals in Connected Legato Style |
Sor, Fernando |
Method for the Spanish Guitar (Fernando Sor) |
Tone Color, Part 3 |
Sor, Fernando |
Minuet in C (Fernando Sor) |
Slurs |
Sor, Fernando |
Moderato, Op. 35, No. 2 (Fernando Sor) |
Top Ten Nasty Habits #2, Pushing the Little Finger Around |
Sor, Fernando |
No. 1 from Twenty-Four Little Progressive Pieces, Op. 44 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
No. 1 from Twenty-Four Very Easy Exercises, Op. 35, Book 1 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
No. 10 from Introduction to the Study of the Guitar, Op. 60 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
No. 12 from Twenty-Four Very Easy Exercises, Op. 35, Book 1 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
No. 13 from Twenty-Four Very Easy Exercises, Op. 35, Book 1 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
No. 22 from Twenty-Four Very Easy Exercises, Op. 35, Book 2 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
Progressive Lessons, Op. 31 No. 1 (Fernando Sor) |
String Damping, Part 4 |
Sor, Fernando |
Study 1 from Introduction to the Study of the Guitar, Op. 60 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 2 |
Sor, Fernando |
Study 3 from Twelve Studies, Op. 6 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
Study 5 from Twelve Studies, Op. 6 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
Study No. 14 from Andres Segovia's 20 Studies by Fernando Sor (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 3 |
Sor, Fernando |
Study No. 17 in Segovia's 20 Studies by Fernando Sor (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 1 |
Sor, Fernando |
Study No. 17 in Segovia's 20 Studies by Fernando Sor (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 2 |
Sor, Fernando |
Study No. 2 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
Guide Fingers |
Sor, Fernando |
Study No. 2 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
How to Count the Rhythms in Songs Written in Multiple Parts |
Sor, Fernando |
Study No. 2 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
How to Use Reflex Practice to Master Fast, Difficult Passages Other than Scales |
Sor, Fernando |
Study No. 2 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
String Damping, Part 4 |
Sor, Fernando |
Study No. 2 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
The Anchor Finger Technique |
Sor, Fernando |
Study No. 5 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
Guide Fingers |
Sor, Fernando |
Study No. 5 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
How to Count the Rhythms in Songs Written in Multiple Parts |
Sor, Fernando |
Study No. 5 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
Know What You Are Playing—Sing! |
Sor, Fernando |
Study No. 5 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
Rest Stroke Follow Through |
Sor, Fernando |
Study No. 5 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
Right-Hand Finger Alternation |
Sor, Fernando |
Study No. 5 in Segovia's 20 Studies for the Guitar by Fernando Sor (Fernando Sor) |
Top Ten Nasty Habits #1, Allowing Left-Hand Fingers to "Help" a Bar |
Sor, Fernando |
Study No. 6 in Andres Segovia's 20 Studies by Fernando Sor (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 2 |
Sor, Fernando |
Study No. 9 in Segovia’s Twenty Studies by Fernando Sor (Fernando Sor) |
How to Play Staccato, Part 2 of 3 |
Sor, Fernando |
Twenty Four Progressive Lessons, Op. 31, No. 1 (Fernando Sor) |
How to Count the Rhythms in Songs Written in Multiple Parts |
Sor, Fernando |
Twenty-Four Very Easy Exercises, Op. 35 No. 1 (Fernando Sor) |
How to Count the Rhythms in Songs Written in Multiple Parts |
Sor, Fernando |
Variations on a Theme by Mozart, Op. 9 (Fernando Sor) |
Fast Guitar Scales With "ami" |
Sor, Fernando |
Variations on a Theme by Mozart, Op. 9 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 3 |
Sor, Fernando |
Variations on a Theme by Mozart, Op. 9 (Fernando Sor) |
How to Use Reflex Practice to Master Fast, Difficult Passages Other than Scales |
Sor, Fernando |
Variations on a Theme by Mozart, Op. 9 (Fernando Sor) |
Practicing in Altered Rhythms |
Sor, Fernando |
Variations on a Theme by Mozart, Op. 9 (Fernando Sor) |
Slurs |
Sor, Fernando |
Variations on a Theme by Mozart, Op. 9 (Fernando Sor) |
The Anchor Finger Technique |
Sor, Fernando |
Waltz in E Major Op. 32 No. 2 (Fernando Sor) |
Pizzicato |
Sor, Fernando |
Waltz in E, Op. 32, No. 2 (Fernando Sor) |
How to Choose Right-Hand Fingerings, Part 3 |
Tansman, Alexandre |
Danza Pomposa (Alexandre Tansman) |
How to Play Loud on the Guitar |
Tansman, Alexandre |
Danza Pomposa (Alexandre Tansman) |
Specialty Bars Part 3: Partial Bars |
Tansman, Alexandre |
Mazurka (Alexandre Tansman) |
Playing in High Positions |
Tárrega, Francisco |
Adelita (Francisco Tárrega) |
How to Count the Rhythms in Songs Written in Multiple Parts |
Tárrega, Francisco |
Adelita (Francisco Tárrega) |
Know What You Are Playing—Sing! |
Tárrega, Francisco |
Adelita (Francisco Tárrega) |
Learn to Collapse Your Left-Hand Fingertip Joints |
Tárrega, Francisco |
Adelita (Francisco Tárrega) |
Pre-Planting At the Beginning of a Piece |
Tárrega, Francisco |
Adelita (Francisco Tárrega) |
String Damping, Part 1 |
Tárrega, Francisco |
Adelita (Francisco Tárrega) |
String Damping, Part 2 |
Tárrega, Francisco |
Adelita (Francisco Tárrega) |
String Damping, Part 4 |
Tárrega, Francisco |
Adelita (Francisco Tárrega) |
Vibrato, Part 2 |
Tárrega, Francisco |
Capricho Arabe (Francisco Tárrega) |
Connecting a Single Melody Note to a Strummed or Arpeggiated Chord |
Tárrega, Francisco |
Capricho Arabe (Francisco Tárrega) |
How to Choose Right-Hand Fingerings, Part 2 |
Tárrega, Francisco |
Capricho Arabe (Francisco Tárrega) |
How to Count the Rhythms in Songs Written in Multiple Parts |
Tárrega, Francisco |
Capricho Arabe (Francisco Tárrega) |
How to Play Loud on the Guitar |
Tárrega, Francisco |
Capricho Arabe (Francisco Tárrega) |
How to Use Reflex Bursts to Learn a Fast Scale |
Tárrega, Francisco |
Capricho Arabe (Francisco Tárrega) |
Learn to Collapse Your Left-Hand Fingertip Joints |
Tárrega, Francisco |
Capricho Arabe (Francisco Tárrega) |
Rest Stroke Follow Through |
Tárrega, Francisco |
Capricho Arabe (Francisco Tárrega) |
Slurs |
Tárrega, Francisco |
Capricho Arabe (Francisco Tárrega) |
Specialty Bars Part 3: Partial Bars |
Tárrega, Francisco |
Capricho Arabe (Francisco Tárrega) |
The Anchor Finger Technique |
Tárrega, Francisco |
Gran Jota de Concierto (Francisco Tárrega) |
Snare Drum Effect, Part 1 of 2 |
Tárrega, Francisco |
Gran Jota de Concierto (Francisco Tárrega) |
Snare Drum Effect, Part 2 of 2 |
Tárrega, Francisco |
Jota Sobre Motivos Populares (Francisco Tárrega) |
Snare Drum Effect, Part 1 of 2 |
Tárrega, Francisco |
Jota Sobre Motivos Populares (Francisco Tárrega) |
Snare Drum Effect, Part 2 of 2 |
Tárrega, Francisco |
Lágrima (Francisco Tárrega) |
Guide Fingers |
Tárrega, Francisco |
Lágrima (Francisco Tárrega) |
How to Start a Piece at the Correct Tempo |
Tárrega, Francisco |
Lágrima (Francisco Tárrega) |
Mark Up Your Music |
Tárrega, Francisco |
Lágrima (Francisco Tárrega) |
Rest Stroke Follow Through |
Tárrega, Francisco |
Lágrima (Francisco Tárrega) |
Tone Color, Part 3 |
Tárrega, Francisco |
Lágrima (Francisco Tárrega) |
Vibrato, Part 2 |
Tárrega, Francisco |
Maria (Francisco Tárrega) |
Connecting a Single Melody Note to a Strummed or Arpeggiated Chord |
Tárrega, Francisco |
Maria (Francisco Tárrega) |
Pizzicato |
Tárrega, Francisco |
Marieta (Francisco Tárrega) |
Specialty Bars Part 3: Partial Bars |
Tárrega, Francisco |
Recuerdos de la Alhambra (Francisco Tárrega) |
How to Use Hinge Bars as Guide Fingers |
Tárrega, Francisco |
Recuerdos de la Alhambra (Francisco Tárrega) |
Specialty Bars Part 2: Cross-Fret Bars |
Tárrega, Francisco |
Recuerdos de la Alhambra (Francisco Tárrega) |
Specialty Bars Part 3: Partial Bars |
Torroba, Federico Moreno |
Sonatina, 1st Movement (Federico Moreno Torroba) |
How to Choose Right-Hand Fingerings, Part 3 |
Turina, Joaquin |
Fandanguillo (Joaquín Turina) |
How to Play Loud on the Guitar |
Turina, Joaquin |
Fandanguillo (Joaquín Turina) |
Natural, Right Hand, and Artificial Harmonics |
Turina, Joaquin |
Fandanguillo (Joaquín Turina) |
Specialty Bars Part 1: Hinge Bars |
Turina, Joaquin |
Fandanguillo (Joaquín Turina) |
Tone Color, Part 3 |
Turina, Joaquin |
Fandanguillo, Ráfaga, and Soleares (Joaquín Turina) |
Rasgueados, Part 3 of 3 |
Turina, Joaquin |
Garrotín (Joaquín Turina) |
Fast Guitar Scales With "ami" |
Turina, Joaquin |
Garrotín (Joaquín Turina) |
Right-Hand Finger Alternation |
Turina, Joaquin |
Garrotín (Joaquín Turina) |
Slurs |
Turina, Joaquin |
Ráfaga (Joaquín Turina) |
The Anchor Finger Technique |
Turina, Joaquin |
Soleares (Joaquín Turina) |
Slurs |
Van, Jeffrey |
A Procession Winding Around Me (Jeffrey Van) |
Snare Drum Effect, Part 2 of 2 |
Van, Jeffrey |
Beat! Beat! Drums! from A Procession Winding Around Me (Jeffrey Van) |
Snare Drum Effect, Part 2 of 2 |
Villa-Lobos, Heitor |
Choros No. 1 (Heitor Villa-Lobos) |
How to Use Hinge Bars as Guide Fingers |
Villa-Lobos, Heitor |
Choros No. 1 (Heitor Villa-Lobos) |
Vibrato, Part 2 |
Villa-Lobos, Heitor |
Etude No. 1 (Heitor Villa-Lobos) |
How to Use Hinge Bars as Guide Fingers |
Villa-Lobos, Heitor |
Etude No. 1 (Heitor Villa-Lobos) |
Mark Up Your Music |
Villa-Lobos, Heitor |
Etude No. 1 (Heitor Villa-Lobos) |
Shifting |
Villa-Lobos, Heitor |
Etude No. 1 (Heitor Villa-Lobos) |
Slurs |
Villa-Lobos, Heitor |
Etude No. 1 (Heitor Villa-Lobos) |
Top Ten Nasty Habits #1, Allowing Left-Hand Fingers to "Help" a Bar |
Villa-Lobos, Heitor |
Etude No. 7 (Heitor Villa-Lobos) |
Fast Guitar Scales With "ami" |
Villa-Lobos, Heitor |
Etude No. 7 (Heitor Villa-Lobos) |
Interval and Chord Balance Part 3 of 4 |
Villa-Lobos, Heitor |
Etude No. 7 (Heitor Villa-Lobos) |
Top Ten Nasty Habits #1, Allowing Left-Hand Fingers to "Help" a Bar |
Villa-Lobos, Heitor |
Etude No. 11 (Heitor Villa-Lobos) |
Double Thumb Stroke |
Villa-Lobos, Heitor |
Prelude No. 1 (Heitor Villa-Lobos) |
Double Thumb Stroke |
Villa-Lobos, Heitor |
Prelude No. 1 (Heitor Villa-Lobos) |
How to Choose Right-Hand Fingerings, Part 3 |
Villa-Lobos, Heitor |
Prelude No. 1 (Heitor Villa-Lobos) |
Interval and Chord Balance Part 3 of 4 |
Villa-Lobos, Heitor |
Prelude No. 1 (Heitor Villa-Lobos) |
Playing On the Tips of the Fingers |
Villa-Lobos, Heitor |
Prelude No. 1 (Heitor Villa-Lobos) |
Shifting |
Villa-Lobos, Heitor |
Prelude No. 1 (Heitor Villa-Lobos) |
String Damping, Part 3 |
Villa-Lobos, Heitor |
Prelude No. 1 (Heitor Villa-Lobos) |
String Squeaks and Romeo and Juliet |
Villa-Lobos, Heitor |
Prelude No. 2 (Heitor Villa-Lobos) |
Double Thumb Stroke |
Villa-Lobos, Heitor |
Prelude No. 2 (Heitor Villa-Lobos) |
Learn to Collapse Your Left-Hand Fingertip Joints |
Villa-Lobos, Heitor |
Prelude No. 3 (Heitor Villa-Lobos) |
Connecting a Single Melody Note to a Strummed or Arpeggiated Chord |
Villa-Lobos, Heitor |
Prelude No. 3 (Heitor Villa-Lobos) |
Guide Fingers |
Villa-Lobos, Heitor |
Prelude No. 3 (Heitor Villa-Lobos) |
How to Buy a Classical Guitar |
Villa-Lobos, Heitor |
Prelude No. 3 (Heitor Villa-Lobos) |
How to Choose Right-Hand Fingerings, Part 3 |
Villa-Lobos, Heitor |
Prelude No. 3 (Heitor Villa-Lobos) |
Right-Hand Finger Alternation |
Villa-Lobos, Heitor |
Prelude No. 3 (Heitor Villa-Lobos) |
Vibrato, Part 2 |
Villa-Lobos, Heitor |
Prelude No. 4 (Heitor Villa-Lobos) |
Counting Out Loud—the Skill that Will Improve Your Guitar Playing More than Anything Else |
Villa-Lobos, Heitor |
Prelude No. 4 (Heitor Villa-Lobos) |
How to Choose Right-Hand Fingerings, Part 3 |
Villa-Lobos, Heitor |
Prelude No. 4 (Heitor Villa-Lobos) |
How to Read Harmonic Notation |
Villa-Lobos, Heitor |
Prelude No. 4 (Heitor Villa-Lobos) |
Interval and Chord Balance Part 1 of 4 |
Villa-Lobos, Heitor |
Prelude No. 4 (Heitor Villa-Lobos) |
String Squeaks and Romeo and Juliet |
Villa-Lobos, Heitor |
Prelude No. 4 (Heitor Villa-Lobos) |
The Anchor Finger Technique |
Villa-Lobos, Heitor |
Prelude No. 5 (Heitor Villa-Lobos) |
Double Thumb Stroke |
Vivaldi, Antonio |
Concerto in D Major (Antonio Vivaldi) |
Right-Hand Finger Alternation |
Walker, Jerry Jeff |
Mr. Bojangles (Jerry Jeff Walker) |
How to Play Staccato, Part 3 of 3 |
Ward, Samuel A. |
America (Samuel A. Ward) |
Sight Reading |
Yarrow, Peter and Lipton, Leonard |
Puff the Magic Dragon (Peter Yarrow and Leonard Lipton) |
Step Practice |
York, Andrew |
In Sorrow's Wake (Andrew York) |
Natural, Right Hand, and Artificial Harmonics |