Learn 50 Easy Classical Guitar Solos (for Beginners) - Basic Techniques & Your First Solos | John Chamley | Skillshare

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Learn 50 Easy Classical Guitar Solos (for Beginners) - Basic Techniques & Your First Solos

teacher avatar John Chamley, Guitar Lessons for Life!

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

51 Lessons (2h 57m)
    • 1. 50 Easy Classical Guitar Solos - Intro

    • 2. Classical Guitar Course Overview

    • 3. Classical Guitar Nomenclature

    • 4. How to Hold Classical Guitar

    • 5. Playing Tirando - Right Hand Technique

    • 6. Playing Apoyando - Right Hand Technique

    • 7. How to Play Multiple Notes Together

    • 8. Tablature and Standard Notation Explained

    • 9. ClassicalGuitarCourse Fingernails

    • 10. Solo #1 Lesson, Fernando Sor (Play-through)

    • 11. Solo #1 Lesson, Fernando Sor (Tutorial Intro)

    • 12. Solo #1 Lesson, Fernando Sor (Tutorial Pt.1)

    • 13. Solo #1 Lesson, Fernando Sor (Tutorial Pt.2)

    • 14. Solo #1 Lesson, Fernando Sor (Slow)

    • 15. Solo #1 Lesson, Fernando Sor (Slow -TAB)

    • 16. Solo #2 Study In C (Playthrough)

    • 17. Solo #2 Study In C (Tutorial)

    • 18. Solo #2 Study in C (Slow)

    • 19. Solo #2 Study in C (Slow-TAB)

    • 20. Solo #3 Andantino (Playthrough)

    • 21. Solo #3 Andantino (Tutorial)

    • 22. Solo #3 Andantino (Slow)

    • 23. Solo #3 Andantino (Slow-TAB)

    • 24. Solo #4 Andantino(2) (Playthrough)

    • 25. Solo #4 Andantino(2) (Tutorial)

    • 26. Solo #4 Andantino(2) (Slow)

    • 27. Solo #4 Andantino(2) (Slow-TAB)

    • 28. Solo #5 Waltz (Playthrough)

    • 29. Solo #5 Waltz (Tutorial)

    • 30. Solo #5 Waltz (Slow)

    • 31. Solo #5 Waltz (Slow-TAB)

    • 32. Solo #6 Andantino (Playthrough)

    • 33. Solo #6 Andantino (Tutorial)

    • 34. Solo #6 (Slow)

    • 35. Solo #6 (Slow-TAB)

    • 36. Solo #7 Waltz (Tutorial)

    • 37. Solo #7 (Slow)

    • 38. Solo #7 (Slow-TAB)

    • 39. Solo #7 Waltz (Playthrough)

    • 40. Solo #8 Study (Tutorial)

    • 41. Solo #8 (Slow)

    • 42. Solo #8 (Slow-TAB)

    • 43. Solo #8 Study (Playthrough)

    • 44. Solo #9 Andantino (Playthrough)

    • 45. Solo #9 Andantino (Tutorial)

    • 46. Solo #9 (Slow)

    • 47. Solo #9 (Slow-TAB)

    • 48. Solo #10 Andante (Playthrough)

    • 49. Solo #10 Andante (Tutorial)

    • 50. Solo #10 (Slow)

    • 51. Solo #10 (Slow-TAB)

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About This Class

Learn 50 Easy Classical Guitar Solos is based on Jerry Willard’s book, Fifty Easy Classical Guitar Solos.  Jerry's book begins with very easy solos, where each solo builds upon skills learned from previous solos. From the outset you will learn solos written by famous composers, most of whom wrote exclusively for guitar.

Join this class with just a little experience on guitar. Or, even if you play another style and want to understand classical technique.  You will be introduced to some advanced techniques through learning these simple pieces..

The course takes you step-by-step through the basics of holding and fingering classical guitar. Onscreen TAB and Standard Notation make it easy to learn.

More than simply playing notes in the book you follow simple instructions to develop efficient and effective technique.

In the first lessons you will:

  1. learn the basic building blocks of classical guitar technique.
  2. follow a tutorial for each piece
  3. practice and play along with either on-screen Standard Notation or TAB at half-speed 
  4. listen to and play along with a full tempo play-along for each piece

Note:  This course currently covers the first 10 pieces.

Meet Your Teacher

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John Chamley

Guitar Lessons for Life!


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1. 50 Easy Classical Guitar Solos - Intro: Hi, my name's John sham Lee, and I've been studying classical guitar since I was eight years old. And I've had some great teachers. So I've created a course and it's based on this book, which is Jerry Willard's 50 easy classical guitar solos. And the reason I like this book is because it's got pieces by famous composers and they're in order of technical difficult. That helps me to teach you because that means we can start with the very basics and then we can build on that as we go forward. So with this course, what you get to do is build your repertoire right from the beginning. Now, you can go out and just buy this book and try the pieces yourself. What you get from this course is an explanation of the techniques that you need, especially if you've not done classical before. So the course is actually good if you are an absolute beginner, I do recommend that you take my other course on music reading for guitar if you haven't before, because then you'll get more benefit from this and you become a really good reader by doing that. However, if you just want to take the cost, that's fine too. You get not only the notation on the bottom of the screen, but you'll also get the tab. So if you want to build a staffer repertoire from the very beginning, learning classical guitar, take my course, I'll be waiting for your writing. 2. Classical Guitar Course Overview: Let's take a look now at how to get the most out of this course. There are three important things we should know here. And the first one is What can expect to learn. Number two is how is the course structured. Number three is how can I gain the most from this course? So the first is what can I expect to learn? Well, other than what's listed here, there are probably things that I didn't think of, but here's the five things that I could think of. And number one is how to correctly hold the classical guitar. That's quite important because the way you wrap yourself around the instrument is going to determine to a certain extent the success that you're going to have in being able to play it. And number two, the various right-hand techniques to play this solos. Now these solos are very good because what they do is they, they cover a lot of different varied techniques that are involved with classical playing. Number three, Good left-hand finger into play efficiently and practically. Now, number four is, you'll learn various damping techniques to play the music as a composer intended. Now these damping techniques I'm talking about when you set a string ringing, you want to be able to have that string ring only for it's a required duration. So you may have other notes going on. So those damping techniques are very important to be able to let you play the way that the composer intended. Number five, practice reading music and various keys and time signatures. This doesn't do too many keys in this in this particular set of pieces, but it does do a few, and you will come across a number of different time signatures. So how is the course structured? You'll find that each of the solos has the following lesson types. And the first one is a playthrough at normal speed. And then the second one is a tutorial showing you some of the things that you're going to come across and some tips on how to play. The third one is a slow half speed automated play through with the onscreen standard music notation. And then there's another identical one which has not only the music notation, but also the tab. Now if you are learning standard notation, it's always best to try to just kind of force yourself to read the notation. But if you want to do the tab, then you have that option. So how can I gain the most from this course? Well, here are some steps that I recommend. First of all, watch the playthrough of whichever solo you, you want to become familiar with. And then secondly, follow along with the book, going through the same video. And, and Wild Watching while watching it. Follow along in either sheet music or the tab just so that you're familiar with how it goes. Number Three, watch the tutorial, and then pause to try examples that are being shown. That way you can be aware of certain things that you need to be doing when you are playing through and practicing the piece. Then next, play the high-speed video and use that as a target speed to work up to. But just a caution there. Don't try to play at that speed. If you're just trying to learn the piece, you've got to slow it down. And this is point number five. You want to learn the music in sections, perhaps two bars at a time is, is good. Depends on the piece of music. And you want to play very slowly so that you can learn all of the different hand movements that are required. 3. Classical Guitar Nomenclature: So now I want to talk about the nomenclature of the guitar. And that's a fancy way of saying what all the bits and pieces are. Now we have the box spot here, which has, would you know, it a top. This is called the top of the guitar and that's called the back. And these are called the sides. So that wasn't too difficult, right? So below here we have what's called the lower bout, And here is called the smaller one is called the upper bout. So the upper bound is the one that usually sits on the left knee. So if we take a look here now this is called the bridge, and we have a white strip across here which is made out of different materials. Could, it could be bone and it could be some synthetic material, even plastic. And these strings run over that saddle and they end up over here. The other suspended end of the string, the nut. So the nut is also made out of a similar type of material. If the material is a harder then, then they tend to resonate better. And this of course is the neck. And the neck has raised metal strips going across which are called frets. And what that does is gives us different positions along the fretboard where we can press down. And instead of getting that type of lower note, we get higher notes, the higher that we get along the fretboard. Now, when I say hire, that's something of a little bit of a confusion when we talk about guitar. When I talk about guitar playing the higher frets, I'm talking about going this direction, which you might think of. If you were to put the guitar that way and run a marble down it, then it would roll down. But, and by the way, I've done that when I was a kid. Don't tell your kids. When you think about the notes because the notes the notes get higher than, I call this going up the fretboard. And another thing is that when you number the threats, the threats are numbered from number one here and they go in that direction so that we get to the higher numbers. It's, and the notes are getting higher. So we call it going up the fretboard. Alright, now the strings themselves, a numbered one through 61 is the one that's close of floor, and six is the one that's close to the ceiling or close to the sky if you're outside. And if we take a look down here, this is called the head of the guitar, and these are the tuners. So I believe that covered everything. I don't know if I mentioned the heel this despite of the, on a classical guitar, you have this type of a thing here, which is called the heel. And that's where your thumb would go around where you can access these higher notes. Some guitars have a cutaway here, but the typical classical guitar is one which doesn't have that. So that's the nomenclature of the guitar. So now when we talk about going up the fretboard and playing on the third string, then we will be talking 123 and we'll be talking about going this direction. So in the next video, I'm gonna talk a little bit about how I supposed to sit with a classical guitar. 4. How to Hold Classical Guitar: Let's take a look now at how to sit and hold the classical guitar. Now, to begin with, we want to be set in a position with good posture is very important that we start out like this. You don't want to be leaning forward and you don't want to be leaning back and have a good posture to begin with. Now what we're gonna do is we're gonna raise up the left knee so that the guitar is gonna sit on that left knee. With acoustics, six string guitars typically address the on the right and you, you seem most six string players doing that, some user classical position, but that's very common with classical guitar. We got different requirements because we want to be able to do some detail-oriented moves that we don't necessarily always need to do with an acoustic steel string guitar to raise your left knee. There are certain products on the market. You can buy these kind of things which you can pick these up and the music store or online. And the one I use is actually a block of wood which has been to have been using for many years and it just never gets damaged or kicked oversaw. That works for me. Once you've raised up your left knee, What you want to do is we want to put this guitar in a position where we can access it and also it can be heard. And we get the best tone out of it. To do that, we want to have the middle of the guitar around about the middle of the body. This is, this is the modern way of thinking about the guitar. So with the right hand, we want to be like in the center of the body. So to do that, what we would do is have the upper bout resting on the left knee. And we're going to have three points of contact. One is with the left knee. The right knee is going to touch the guitar. And we're going to, and this is also going to be resting on our chest. So that's three points of contexts. So what I need to mention here is that those three points of contact should allow the back to vibrate. So you want to have this point of contact here, allowing a space between the chest and the knee so that the back can vibrate. And that will allow them the best projection of sound. And then we bring the right hand around and that should be round about the center of the body. So the other thing is with the left hand, we want the left-hand to build a come up and easily access the fretboard so that we don't have to stretch too much and going in an awkward position or be back like this, where we've got this bend in the back of the hand. So what I always tell people is try and keep the left the forearm. Try and keep the forearm pretty much straight with the back of the hand and also with the right-hand. If we can try and do the same thing. Not to, you know, not too much like that. Not too much like that. But in a position where the tendons can be. Being able to operate and function properly. So now that we've got this in the position, we just make sure that the angle of this guitar is, is fairly vertical so that we can be able to reach an access the whole fretboard easily without, without having to struggle. Now, I know that this is, this is quite a difficult thing to do when you just try and just learning from a video. And if you ask regular stick string players, people who had been self-taught, they're gonna tell you all kinds of things. So classical is a different beast. Now the other thing is when you bring your right hand up to the guitar, you want to be, you want that hand to be in a comfortable, relaxed position as if as it would be if you're walking down the street without any tension in your fingers. So we naturally walk with a slight curve in this hand. So we want to be able to bring these fingers onto the strings like that. Let's talk now about how we refer to the fingers. Now if you've ever played piano or you know, someone who did, they refer to the fingers as being the thumb is number 12345. Like that. That confuses a lot of people who played piano before. Because with guitar, we ignore the thumb, especially classical guitar, and we call the index finger is number one, so it's 1234. That's on the left hand, on the fretting hand. Now, on the right hand, we use letters, and we use letters from the Spanish language, P. I am a, meaning BullGuard in these videos, annular. And that's probably the worst pronunciation that you will hear. But anyway, basically it's P, I, m, a, and typically we would not use the little finger. So that's how we number the fingers. Now we will see when we go through the music that it will be referred to. It will refer to those fingers with numbers and letters. So it's important to know this. Now I think the left-hand is easier to remember the right hand, you have to think a little bit to get used to p. I M a one thing that I always do that I've done ever since I've learned to play guitar is when I bring my hand up to the strings, I always bring these three fingers, the i, m and the a finger and make them contexts strings 321. And I call that the home position. And I usually rest the thumb on the sixth string, or he could rest it on another string too. But that's kind of my home position. And once my fingers are there, then I can I can even without looking, I can start to play things because I understand that that's my that's my point of reference right there. The other hand, I I guess I always bring this left hand up and I touched the fret second tell, which is I can touch this first string and I touch the sixth string. And I can feel that those strings are there. And then with the left-hand on classical guitar, you always want to have you, your fingers pretty much curled. That's, that's the basic position and the thumb is going to stay around the back, supporting the fingers. So you don't want to be having the thumb over like that. This is, this is not classical guitar position and it's actually, it's going to be more difficult to play like that if you adopt that kind of style. So in the next video, we're going to start to look in more detail about how we operate the guitar with, with the hands coming up. 5. Playing Tirando - Right Hand Technique: Hi, in this video, what I want to show you is some special techniques for classical guitar when you use in the right and the left hand, there's a certain way that you suppose to play. So I just wanted to explain some of the things. And the best way I can do is to show you on a board here. Now this is good for you to try yourself. So if you have a board or, or just a surface, a table surface will be fine. Now I just want to angle is so you can see what's going on here if you can arrange it so that your hand is in a in a very natural position like as if you were walking down the street. That's the kind of position that you want to keep on the plane because you want to be as relaxed as possible when you're not playing the notes. So if you can just let your fingers land on the table like this. And what we wanna do is I'm going to show you how you would play a note starting with the thumb. So I'm gonna go through all the fingers. And we call the fingers PI, which is a standard way of referring to the fingers. So what I'm gonna do is I'm going to play the, play each one and I'm going to return it to its starting position. So what I'll do is I'm going to say push return. So that's where the p with the i finger is. Push, return. With the m finger. Push, return with a finger. Push, return. Now when you play the strings, that's essentially what you want to try and do. So if I, if I pick up the guitar now and I'm going to hold this guitar. I'm going to try and angle this so that you can see this. So if we now put the thumb on the fifth string, and then the other three fingers there, I am in a finger on strings 321. And just rest than they're like they're in a very natural position. And we're going to do exactly the same thing. So what we'll do is with the thumb, we're going to go push and return. And we can lay on the string again. So with the eye finger, push return and then lay back on the string with the m finger. Return and lay it back on the string. And with the eye finger, Bush and return and lay it back on the string. Now, you don't always necessarily want to lay it back on the string. Sometimes you want to let the finger hover over the, over the string because the string still needs to vibrate. So the technique that I was using there is called Taranto. And in English, recall that free stroke because when you play the string, you're not touching any other string after that, unless you return it to its position and put it back on the string. So try that yourself and make sure that you're comfortable with that. And then in the next video, I'm going to show you another technique. 6. Playing Apoyando - Right Hand Technique: So what do I want to talk about now is a type of stroke called Apple Django. And what that means is leaning against. So what that's called an English is rest stroke. You may, you may have heard of it. So what we do is like Toronto where we're, where we're playing free stroke. We start with the finger on the string and then we're just going to pull like that. But instead of pulling like this and returning, then what we're doing is we're pulling and we're resting on the adjacent string. So that does two things. One thing is, it makes this playing very stable because when you are resting on that next string, then you're anchored down to that point. So if you follow that through with another finger, let's play now with the finger. What you do is you lend at middle finger on the next string. Then you lift up the eye finger. And in this way, you can play alternate fingering like this. Now you don't have to use just i and the em. You could use the a finger also. The other use of this, which we'll see later on is when you play through. So let's say I had the second string was ringing and then I used a restaurant. So I go like this and I play the first string, then that restaurant cancels out the adjacent string. That's another benefit that will see put to use when we start to go through all of these pieces for now, let's try just getting used to playing the I and the m finger using rest stroke. And I'm going to set the metronome going at a speed of 45. Let's try that restaurant together. And I'm going to rest my thumb on the sixth string. And I'm going to let these two fingers, the index and the middle finger, starting with the index. I'm going to play alternate fingering, playing on string1 and landing on string to. Let's try that together. So after 41, 234. So notice here that while I'm doing this, as soon as one thing is played, the other finger goes back to a ready position to play the next note. So I set the metronome for 45. In this case, you can slow it down even further. Try to have good timing with this. This is a very important technique we can also do with other fingers too, but let's just stick with the I and the m finger for now. And then in the next video, I'm going to show you another little technique with the right hand. 7. How to Play Multiple Notes Together: Okay, so we're back with the board again now. And what I want to show you is, how are we going to play more than one note at a time? Now if you're coming from, if let's say you played any kind of style before, which requires strumming with a pick or with, with fingers you, a concept may be that you brush across the strings well with classical and other types of finger style to, you should be able to use the fingers to play several notes at once. And a lot of times it's with the thumb and one or more of the other fingers. So what I want to do right now is go over the kind of sensation that you want to have when you are playing two notes at once. So if we put our fingers on the board just like before, in a relaxed position. And what we're gonna do is take the thumb and one of the fingers together. So first of all, we'll do with the thumb and the index finger. Let's just pull us toward the middle like that. And leave the other thing is in place, and then release. So let's try that again. So Paul m, release, pull and release, pull and release. Pull him release. Now let's try the middle finger. Ready? So thumb, thumb and middle Modi. So Paul, and release, pull and release, pull, em, release, pool and release. Now let's try again with a finger so that a finger and the P Reddy. So Paul and release, pull em, release, pull em, release, pull em release. Now finally, let's try the thumb and all the fingers together. Ok, so ready, pull and release, pool and release pole and release, Paul and release. Now if we transfer that to the guitar, tried to get the same sensation that you, that you had on the board or on the table. And let's see if we can do that and get up like we did before. Let's do it with the sixth string. And then we will rest the other three fingers on strings 321. And let's just try that with string six and string three. So with the thumb and with the index finger. So already we're going to go for an amp pollen release. So 1234, poem and release, release. And release. And release. Now let's try with the m finger. Three for a release. And Release. Release. Release. Let's try it with a finger. Three for Paul and release pole and release Hall and release. And release. Notice when I was playing that a finger that the the little finger was also following along with it. That's perfectly normal and exactly how it should work. Now that we've done that, let's see if we can do a for string chord. So in this case, we're going to play all fingers together. So already 34 unreleased release and release. Release. So again, we're going to see that coming up in the video is once we start getting into the pieces, so make sure you're comfortable plane those kind of techniques. And then once we get into the plane that actual pieces, then you'll be much more prepared. 8. Tablature and Standard Notation Explained: What we're going to take a look at now is standard notation and tab. And we'll take a look at the advantages and disadvantages of both. So let's start with tab because that's the easiest one to understand. And if you're watching this, you may already know how to use tab. But let me just explain anyway. We have six lines here which represent the six strings of the guitar. And the top line would be the first string, the high note string, and the bottom line here, or B, the low note strings. So if you have a note here like this, for example, let's just say that that's a 0 right there. That means it's an open string. And if you look at the fretboard over here, what it's showing is that's the first string and it's the open string. Now if I go over here, click on that one right there. You notice over here that's showing that on the second string, first fret. So this is really easy because the numbers represent the frets. Now, since this is a very simple piece, the numbers don't get any higher than, than three. But if you were playing this in a different position than with the standard notation, unless you have some other notes on, on the standard notation, you wouldn't know what position it is because you could play this. Theoretically, you can play this in different positions on the guitar. Okay, so that's tab. Now, what is not included in tab is the note durations, rests, and other things like that. So if you take a look now at the standard notation, what we have here is a lot more information. So at the top here we have a tempo set for 52 beats per minute. That can be, that's, that's not really part of the standard notation. Where if we take a look at the notes here, these represent the pitch. Now they could be played in different positions on the guitar, as I was saying. Now you wouldn't know this unless there were some other notations which I'm going to explain about. Let's take a look then at the fingering. Now the fingering, we've got the right and the left hand for guitar. And if we take a look at those fingerings here, this will be the left hand. And usually they are represented by the fingers 1234. There is no fingering on here, but if I wanted to put a fingering for this, I could say, let's play that actually is open string, so I'll put a 0 like that. And I could put a fingering for this one too. Will actually, there'll be another 0, but this one has a fingering over here. So the fingering is shown by a number. Now the right-hand fingering is shown a different way. That's shown using PMMA. So p i m a. And you'll see that on little hand here. And we have quite a number of fingerings for the right-hand shown on this music here. Okay, so now the other thing is, you can see very clearly the note durations. You see that this is 34 times, so you have a time signature. And you can see the quarter notes here, and you can see the eighth notes. So this is a very clear way of explaining the note durations. Now if there was a rest, let's say four. If let's say for example, I played that, I could add in their arrest, I could do that. Now here on the tab, you just see a missing no. So you don't know whether that no is sustained until the end of the the measure or It's just stopped there. So you don't have a clear idea in the tab, but you do have a clear idea in the standard notation. So at the end of this piece, here's an example of something a little bit more complex that is quite hard to show in tab, because here we have a series of double notes. And then when we get to this measure right here, you'll notice that that note has a duration of a half note so that you cannot tell from this. You don't know whether it starts there and goes to the end. It's hard to tell. But in this one, you see that that's a half note right there. And then at the end you have a quarter note. So actually just, let me just play that just just so that you can hear how that sounds. You can hear that sustaining there, right? So of course there is a lot more detail that you could put in the standard notation for articulations and dynamics. And those things don't usually appear in the tab. Now TAB is great to show you the fingering of something. If you already know that the music and you can hear it, you can listen to it. And, you know, you just need to know where do I put my fingers, then it's great. Or if you're writing something down quick, but then if you want to put the details in how the pieces actually played, standard notation is quite superior. So learning standard notation takes a bit more time, but there really is a lot more information that you can get from it. So it is worthwhile to learn it, especially if you want to benefit from written music where the composer has actually applied fingerings and dynamics and those kind of things to the music, then you can get a sense of what the composer really intended to do. So those are the benefits of standard notation. I just want to make one other note about fingerings. Typically, with standard notation, you wouldn't see this much fingering notated if, especially if the pieces a little bit more complex than this, this one is a beginner's piece, so all of the fingerings are indicated. And in this case, I actually added some additional notes which are not, would not really be notated. Even, even the one and the three over here would not really be shown. But in the case where there might be several possibilities or to indicate the position on a guitar, you might show the fingering. And then there's one thing else that you could do, which is add a symbol for the string. Now if I put phi, add the string symbol right there that show that that's on string two. Now, as you know, the nose can be played in different positions. So this is, if I play that on string three instead, then that will be a three. And then you would, you would adjust the fingering to play the notes as would be appropriate. So that's another notation there that you can also add. So typically, depending on the type of piece, if it's something that the composer wrote or the person who arranged a piece wrote a piece could be played in a particular position, then, you know, you would normally see these just to, just to give an idea to the player, what is the best way to play it? And, and again, these fingerings and numbers, the more experienced you get, then you tend to just take those as a guide and you may have your own ideas about how to play them. So in the case of the pieces I'm showing in my classical guitar course, I've actually added additional fingerings that were not put in by the composer. And that's just purely to show the beginner what's, what would be a good fingering to use? So I hope that from this you can understand that standard notation is well worth the effort to learn, especially if you're learning classical guitar, is really a good idea to invest time to learning it and it's very fulfilling Once you do. 9. ClassicalGuitarCourse Fingernails: There's one thing that every guitar is should be trying to do, and that is to pursue good tone. This is also the reason that lots of people, myself included light to buy good equipment and good instrument. That there are two things that you can do that don't cost any money. One is technique, the other one is fingernails. Fingernails is a hot topic, especially with classical guitar is so what you want to know is how you can use your fingernails to the best effect to improve your tone. That's what I wanna talk about right now. In order to be effective with your fingernails, what you want to do is try and contact this string with your flesh and the fingernail at the same time. So what you want to do with your fingernails Is have it such that your fingernail is going to be able to slide easily over that string. And it's going to have a nice clear tone. There's lots of information about this. You can search for it online and there's lots written in books. What I am going to show you is how I'm gonna do my fingernails right now. By the way, if you're a guy, you may not like the thought of messing with your fingernails. That's certainly the attitude that I had when I was a kid. Fortunately, I don't need to have long fingernails. That's not always the case with everybody, but, you know, like the it's to do with the place where your fingernail meets the finger. So I don't need to have very long fingernails in order to be able to contact the string and to use that fingernail to play the string. So now this issue of fingernails is also complicated. If you, if you're a lady, because ladies typically like to keep their fingernails neat and sometimes long. So if you're playing guitar, then you kind of have to make a choice, especially classical guitar. Is it more important that you have nice-looking fingernails? Or is it more important that you can make a good sound on guitar with finger style. And the other thing is, if you play the piano now this is, has been the case for a student of mine who played piano very well. And they were learning guitar. But the problem was when they had longer fingernails on the right-hand, they just couldn't stand the clicking on the keyboard of the piano. It's something that you have to come to terms with now the other thing is that some people don't even use fingernail. And that's the case with even some famous guitar composers like Fernando sore and a Gradle. But really, I would say the majority of players after Segovia use fingernails for their plane. And there is a certain advantage having that hard material contact the string gives a certain type of sound. Now to optimize that sound, what you want to build the do is to shake these fingers. So that's what we're going to take a look at right now. So how do we do that? So now let's talk about the right and the left hand. The left hand is really easy because the left-hand you just want to have short enough so that when you put your fingers down. And play a string. It's not going to push your fingers to one side or the other. So that's, that's really easy. The right-hand is where we have to now pay the closest attention. So what I'm going to use for a tool is a diamond file. Okay, so the first thing we need to do is to take a look at the ends of our fingers. Now sometimes the thing you find that the fingernail is kinda sloped one way or the other way, and everybody is going to be different in that aspect. Now, more importantly is when you take your hand on the guitar and you contact the string. Now that stirring is going to be contacted on either the right or the left side of the finger typically. So you have to decide how you're going to hold your hand because if you hold it this way, then it can't contact on the right side. Where if you hold it a little bit the other way, then it's gonna contact on the other side. And that can be to your advantage. So you have to know what is the most natural way for your hand to sit on the guitar. And it's something that you want to experiment a little bit, whether before you decide how you're going to start shaping your nails. Now, if you have a nail coder, This is not good for this. What you need to be able to do is to shape this nail precisely. Now there are all different ways and you're gonna see got cutting this way or cutting that way or cutting pointy, pointy shapes or or or just following the shape of the nail. Now, when I was a kid, I was told just follow the shape of your finger and that works. Actually, that's the most easy thing to do. And it actually works. And it's something you don't have to think too much about or figure out. Unless you're a professional classical guitarist, then you may not have the time. So that's often the best and easiest way. So just make sure that your finger can contact the string and shape the fingernail according to the shape of your finger end. If you want to do something a little bit more like what I'm going to try and attempt here is when a contact the string with each of these fingers. And just determine when I do this. When I do this, my finger is contacting on the left side. Now if I turn the hand a little bit this way, it may be contacting on the right side, so I have to make a choice. This time. What I'm gonna do is I'm going to make a choice that I'm going to be playing on the left side of the finger. So you have to be comfortable playing that. It doesn't mean that you can't try the other way and alter your technique a little bit. But I'm gonna try setting this up on the left side of the finger and I'm going to find that contact point. And then I'm going to create a straight ramp across the finger. And we're gonna see how that works. The way I'm gonna do this is I'm going to take. This file as if it's a string, right? And I'm gonna play that string. And I set this up right? Like this. But first of all, I'm going to use a little, little bit of engineering technique here, and I'm going to mark this with a marker pen so that I have a line on the end of the finger. And then I'm gonna take that, just kind of put their hand in a position now where I can just pretend that that's a string right there. I'm gonna play that string like that. I'm gonna do that with each finger and one more finger. Now what that's done is it's created a little flat and an area where there's no marker pen, so that's going to be the starting point. So from there, I'm going to start the file, a line, but I'm first of all going to see, and we'll see if I can find that angle. And I'm gonna do this a little bit more and see if I can actually create an angle on the end of the finger. So let's see if this works. So okay, so now I've got something of an angle and I'm going to file this a little bit. So this file is going to go underneath the nail rather than on the end of it, just so that I can create that shape. Alright, so it's gonna go a little bit like this. So I'm gonna do a little bit and then I'm going to try on the guitar. Seeing how that works. Now I can actually feel a little bit on this edge that there's, it needs a little bit of a knees, a little bit of a lead in, so that when I contact that, it's not hooking the string. So I think I need to file this down a little bit more so that, that contact point is perhaps a little bit farther back. So I'm going to try this. I am going to experiment. I'm going to show you what the result is. So what I've done is I've established those ramps on each one of the fingers and I find that I'm not having any problem with snagging or anything like that. And if you really want to make this super smooth, what you can do is actually start to use sandpaper. Like very fine sandpaper can start at 400, go five, you know, go as fine as you can, maybe 1000 and make it really polished. And that we'll have a really super smooth ramp that can glide across the strings and it doesn't make a difference. I have gone to that trouble in the past and I've found that that does work. Now you may be wondering what about the thumb? For my thumb, actually, what I've found is if I do use the nail part of the thumb, I've found that I tend to start in the middle of the thumb and go toward the outside. So in that case, your ramp was going to start in the middle, somewhere in the middle of the thumb. So one thing I didn't really emphasize is that you're going to have to start to find a point where, you know, if your nail is super long, you're going to have to perhaps a whittle this down a little bit until it's at a place where you contact the string easily with your nail and the flesh bart. And then once you've got that point, then you can start to make some kind of a ramp or curve, whatever you decide to do so that you glide over the string smoothly. So I'm, I'm not having any trouble right now. Usually when if I do something like this, I'm actually using pretty much the flesh bought. But if I do something like this, I'm going to be using the nail part of the thumb will attend to dig in a little bit. Now what the tendency has been sometimes I've found is that I tend to hook under the string. But if you have that ramp there, then you can prevent that. So this is very general advice. Hope that through this you can experiment. You know, the good thing is that you nails are always going to grow back so that if you try one way, just let them go a little bit again and then try something else and find whatever is going to work for you. So just one final thought is that you might try and change the angle sometimes. And in that case, you may even want to have two ramps. You know, consider that as a point on the other side of the finger and then start some kind of a ramp that way. So this is something that you're going to have to experiment with yourself. And I'd just like to encourage you to find out what works the best for you. Please. 11. Solo #1 Lesson, Fernando Sor (Tutorial Intro): Let's take a look now at the first piece in the book which is called Lesson by Fernando saw, first of all, I want to mention some basic things about positioning. Now, the left-hand, typically we're going to be using the first, second, third, fourth finger on the corresponding threats. If you see something written on the third fret, then use the third finger. If you see something on the first fret, then use the first finger. If you follow that idea, for the most part, it's going to be correct, but there will be some exceptions and those will be pointed out. The other thing is with the right-hand fingering one I'm gonna show you if you are an absolute beginner, then you may have some difficulty implementing these concepts. So what I'd like to say is don't get too bogged down with these ideas. I want to introduce them, especially for those people who have some experience and coming to a classical guitar to learn the classical technique. So what we can learn through these simple pieces is the technique that's used for string damping, for example. I'll be going through those things as we go along. Now in this first piece, Fernando's saw, actually put the fingering. Fernando saw our Guido and car Kasey, some of those fingerings that appear in other publications are also in this book. So the fingerings that are written by the composer. Now I did add some fingerings in the scores that I've added to the videos are to help somebody who is not sure about which fingers to use. Now in the course we'll be using the standard P I am. Now in this first piece, what's been shown here is the use of p i, m. 12. Solo #1 Lesson, Fernando Sor (Tutorial Pt.1): In this first piece, what's been shown here is the use of p. I am. In the first measure. We'll see that the P is used on the third string, followed by M on the first string, and I on this second string. Now typically in this we'll be using rest stroke. And what restaurant does is it lets us cancel the notes on an adjacent lowest strength. So let's just go through the first measure where we play, we play a G on the third string. And then the next note is going to be the first string open. Let the thumb rest on the third string. And that allows the note, the genome to be able to play up to its full value but no longer. So then like that. And you can follow that with the index finger playing the C. And at the same time, let the m finger rest on the first string. So, so you get a nice clean sound without any ringing on of the notes. So let's go to the second measure now. And it's followed by using the M finger on that same scene out, we're using alternate fingers here. So there, since every note is on the same string, you don't need to worry about the notes running on. Now in the third measure, we got the similar thing here. So we use the same principle that we use in the first measure. In the fourth measure we've got. Now that last note in the measure. What happens there is you have that note ringing. So when you play that, that E on the open string, if you do a restaurant, then that's going to cancel out that second string note. Okay, so moving on, let's continue. Now we have on the fifth measure, we have, we have three notes in a row going from the third to the first string. Now what you can do here is you can use a restaurant. There. I'm using the index. P is written, then index. And then metal. You can play like that. And each is consecutive, not cancels out the previous one. And let's continue onto measures six. Here's another little technique that when you, when you play these notes, if you don't want that note to ring on, you can lift up this finger and let that, let that finger rest on that string so that it cancels out. So if you just look for ways that you can stop the notes that are not supposed to be ringing on. Here's what's happening in measure six. I'm placing my third finger on the third fret, and I'm starting with the index finger. First finger, it goes onto the first fret, playing the, the m finger. Now, at the same time, I'm putting this third finger down for the second string, third fret. And getting ready to play with the right hand, I finger. I'm going to lift up this first finger so it's gonna go. So you've got that kind of rocking action here. So we've got this. And also I'm using another technique can just as a reflex. And I'm using this m finger putting that down on the first string. So there are actually two damping techniques. So here's just using the left-hand technique. And here's the other one. So they both work. If one is not easy to do, then you can use the other one that's so getting used to using these techniques is very valuable. Now, you may have noticed that I have my, if you can see this in the camera, I have my thumb resting on the lowest strings and net effectively damps those strings. So I can, if I raise this up a little bit. So if I, when I've got that thumb resting there, I can use these other fingers. And that also contributes to having a nice clean sounds. So again, measure six goes like this, starting with i finger doing the damping here. And then going into measure seven, we've got I. At the same time, you can lift up that finger and damped that string. And you can also use the index finger there very effectively. And then the following note will be the e. We can arrest the thumb on that third string. So that's measures 67. And the next note is going to be on. The second fret. Goes, it's a sharp as a C-sharp. And then we go into the little rundown where you have this. So I am going to play here and measure 678. So you can see a little bit of the close of what's going on here. So the third line of the music as it's written in the book, is a repeat of the first line, so I don't need to go through that one again. And then the fourth line is similar to a second line, but there's a little bit of a difference. So I'm gonna take it from there. Here. I'm going from measure 13, which will be the fourth line in the book. And let's see if you can see what kind of damping techniques I'm using with the right and left hand as we go through this. So here we go. So following this, we're gonna go into the second page. What I suggest is work through this first page and make sure that you're comfortable playing this. And then let's tackle the second page. 13. Solo #1 Lesson, Fernando Sor (Tutorial Pt.2): So in the second half of lesson, I'm not gonna go through all of the techniques that I covered in the first half because a lot of the time it's the same concept that you are going to be reapplying to a different notes. So we'll go through very quickly. I just want to show you what's involved. And then in the next video, you build a go through at half speed with playing along and following the notation or the tab. So let's take a look briefly or what's in this second half of lesson. Here we have. So here is showing IP. I am too. And I suggest they're just using alternate i and m fingers. They would end up with a m, i and the p. What I suggest here is for this one. So it's okay to use the same finger twice it, especially if you have a thumb in-between. Now let's continue on. Here. You could go p i m, p i m. Right. Now here I would suggest P I. And he had a sequence of notes on the second string. So I would use alternate fingering there. So here I would use the thumb. I am. Next measure is something similarly Got that could use the thumb there. So what would work there will be some i M i. Now we come into the homestretch just using alternate fingering and then use the thumb. And then perhaps m, i, m, i m. And then for the last part, using p i. Now here we've got two notes. So the fingering that I recommend here is using the a finger and this is using the fingering that I call the home position. So the home position is where you put your, your arrest. These three fingers on strings 321. So if you do that, then what you can do is use the, use the P for the lowest note. So that will be p and a. And then the next pair of notes is on strings 42. And use P and M. And then the next pair of notes, use the index. So you're actually doing kind of an alternate fingering with a, with a P in the bass. Use P in the eye. And then the next pair of notes. Here. Be careful with the fingering because typical classical way is to utilize all of the fingers. So if you've used fingers 12 are there. So the best thing is you put that third finger down and use, use the little finger to put down on the d. And then on the right hand. Now what I suggest here is use two fingers together like this. You could use the thumb and one of the other fingers, but I I suggest you do that and then finish off with the thumb and the middle. So again, the sequence where we have two notes at once. There is p and a, v and m. P and I hear use fingers 34 and then use ion em together. And then finish off with p and m. 17. Solo #2 Study In C (Tutorial): Now let's take a look at Fernando's source study in see. What saw does is show a little bit different way of playing the high strings. Then in the last video. So here what is suggesting is using alternate fingering without using the thumb. So if we follow the first measure, shows this, he shows on the right hand is using guy and then m, and then for the third string. So, so that's different from the last 11 I recommend here is if you continue that same pattern, then actually it works out very nice. So if we just use alternating i and m finger starting the way, it's notated. And it would go like this. So i i, i i and so on. And then you would be back at this a repeat of that same thing. Little bit different here. Now what he does have notated here is the P u plane on the fourth string. And then they're on the first string. What he's got also notated there is, is there a finger? And when that makes sense, because following that you have a chord, three notes. So you've got the a and then you've got PIN playing the plane, the 43 and toString. And then the base string sticks string with the p. So that's the first half, up to the, up to the repeat sign. And the second half. Now he's showing the P being used on the third string. But what I suggest here is if you follow my logic here, I'm going to go like this. I'm going to use alternate fingers, but with a P on the third string. Stories like this. That will be m i. In this case, I'm using i and m. And then I'm just going to keep going with alternate fingering. So for the last part, it will be b. So using P on the, on the bass strings. And then here's using exclusively p for all the alla base notes. And then there you would have IMA to play that chord on strings 321. I should really doubt that, that C on the fifth string to be, to be correct there. So that's study in C. So the same as previous video. The next one is going to be at half speed. So if you can get this going a little bit and then try play along with the half speed video. 19. Solo #2 Study in C (Slow-TAB): Mm-hm. 21. Solo #3 Andantino (Tutorial): Now let's take a look at and Dan Tino by Joseph Krishna. Now you might wonder what Tino means. And on Tino means a little bit faster than N Dante and, and Dante is considered to be walking speeds, so it's a little bit faster than a regular walking speeds, something like that. So there are a lot of pieces that are named and anti-nodes in this book, interestingly, and this is the first of two pieces by Joseph Krishna call and the antenna. Alright, so in this piece, what we're looking at is a right-hand technique that involves alternate fingering and then the thumb. So let me, let me just explain. I'll go through the piece and then you can see what I mean by that. So if you look at the first few measures, we have M I P, M i p. And then we have some double notes where we're still using m. I, am I. So I'm not gonna talk too much about stopping the strings that are not supposed to be ringing. I'm just going to assume that you're going to try to do that. So let's take a look at the first four measures. And it's going to go like this. So we got em. And then and then we've got m. And here we've got the thumb and the index together for a double note, so we're going like this. And then the next pair of notes is also on the same strings, but using the thumb and the fingers. Now we're changing strings, but we're playing P and the I on strength 32. So it goes M P and P and M p and i. And then we have a similar thing going on in following that, which is m. Here in this measure, which, which would be measures six, we have a node which is held. So we want to be careful not to disturb that know, that know's gotta last born to three. And while we hold in that note down, this means we don't want to let go of that. And we also don't want to use rest stroke in this case, if we did restaurant there, we'd actually stopped that note. So we have to do free stroke in order to be able to let them know ring. So we have got so there is something that you need to be careful with to play this as it's written. Alright? And then we're back to the pairs again, v and i. In M, i in M. That's the first half of the piece. So in the second part after the repeat sign. Now here we've got m And the P and the I. Now let's do the final part, the final four measures. Actually the last four measures we already went through, but I'll just go through it one more time. So it goes like this. Here. We could use the thumb and then we have to use a, a free stroke. They're not ring throughout the measure. And then we've got this PNIAI in M, P and P and M. So that's Joseph toughness and the antenna. And the following video will be the half speed video. 25. Solo #4 Andantino(2) (Tutorial): Now we're looking at the second of Joseph toughness and the antenna. And in this one, the right-hand fingering is, it gets a little bit more intense with the use of this alternate fingering together with the p. From the beginning. What's happening here is you've got the thumb being used in the base. You have a whole series of double notes, alright, so it goes P and M, P and P and N, P and I. And then it's not marked here, but you can just assume you can follow the same pattern. So P and M, V and I. And then you can go back into the next, next measure with m and i and m, i on the top with p in the base, P and M there. So you can follow this same pattern. Then being i. Now here can go P and M. Here. You've got, you've got the bass note ad. So you would use the bass note and the i and m fingers together. And then what I recommend is I am for this 16th notes, you have an eighth note. Eighth note. And then he got this 16 with the I and the m, and then finish with p in the i. That will be up to the repeat sign for the first part. Now in the second part, it's basically a similar thing here. So we've got whichever finger you start with there. I've, I started with the P and the M. I in the M in I, P and the M. And then when I, So if you follow that same pattern, P and M i in M, P in I, and then P and M. So I'm just doing strictly alternate fingers on the top notes. So same pattern Am I, am, I, am, I am pi. And that works out very well for this piece. So this is really an exercise in using that type of alternate fingering together with the bass note. So the following video. Once you get this going a little bit, you can try and play that at half speed. Coming up. 27. Solo #4 Andantino(2) (Slow-TAB): Okay. 29. Solo #5 Waltz (Tutorial): Alright, now let's take a look at DNE CEO AG widows waltz. And in this piece, this is the piece that I used for the opening music for, for this course. And this is interesting because what we're using here is IMP. And then we're using the i and the M Fink and says, I am an added together with the IM and then I am like that. So that's the kind of fingering that we've got. Then in the next measure we have this where we'd play two times with the thumb. So the interesting thing here is what we're doing on the left-hand. Now, with the left-hand, it's always good to keep your fingers over the strings. And especially I see this would begin as where, where the fingers start to fly all over the place. I suggest you try to keep your fingers in place. Now just follow me here because what I'm gonna do is I'm going to go through this. I'm going to put those two fingers, those two fingers down like that. And then what we do in this piece is we move up to the third position, and we play here with playing the B, in this case on the third string. So when you play this, it's good to, it's good to not let your fingers wonder, but try to use the same fingering that you used down here and just move everything up there. So it goes. And then we go back down to this one. Without destroying this kind of shape that you've got here. Tried to put the little finger down there. So that's how the first part goes. Now in the second part we have something similar. So again, try and keep your fingers nicely in order. So you've got this. What we're doing here is moving up to here. So we've got this move back down. So notice I'm keeping that shape the whole time. And then he got these pairs of thirds coming down dramatically. So again, just try keep that shape nicely. So it's very elegant if you do it this way with a left hand. 30. Solo #5 Waltz (Slow): Okay. 33. Solo #6 Andantino (Tutorial): Let's take a look now at carcasses and antenna. So this is a piece that I learned when I was a kid and it's a piece that I use a lot when I teach my students. And it's also a piece that I feature in some of my other courses. So if you happen to have done this in one of my other courses, what I am going to show you here is a little bit more technical in terms of the way it's played. What's happening here? If you look at the music, you'll see that there is as a voice on the top, you know, you have this. You got that. But the melodies actually. And then the rest of it is kind of an accompaniment. So in the base you have this. And that accompaniment is actually written in, in eighth notes. And strictly speaking, that should, each one of those nodes, each one of those notes should only last an eighth note. And the melody on the top should actually last acquired enough. So if you play it like this. So you can hear that right? So that was basically P and M followed by the eye finger, except for where it changed to the first string. And in that case it will be p and a, followed by i. And then again. And then we go back to the m. So pretty much you can use the home position when I call the home position IMA on strings, three-to-one. Alright? Now in the second part, we're playing two notes with AI and the m. So we playing high and the m followed by the peak. Now that top note is shown as a quarter note or a crutch it, as we say in England, strictly speaking, it should go like this. Where the top note lasts for a quarter note, and then each of these notes last for an eighth note. So if you can be aware of that. And then here is the place where most students trip up because the base note changes to the fourth string. All right, so that's the middle part, and then it goes back into the same, the same as the first part. Now the interesting thing about this is the way this is written. It's written in 44 time. So the thing is the first measure is a pickup measure, and he only has two counts. So the reason that that's done that way is for the accent. Now, in 44 time usually you make their first beat strong, right? So it's 1234. So here it starts on the third counts, so it goes 1234. And so you can slightly emphasized that node. So this is a, There's a little subtlety about this piece. So that, that two counts there is on a strong beat and then it starts again with a kind of a pickup measure into the next part, strong beat, and then on into the last part. So that's some interesting things about this piece and antenna that I don't usually cover in my other courses. So have fun with that new technique and try the half speed. When you're ready. 34. Solo #6 (Slow): Okay. 36. Solo #7 Waltz (Tutorial): Now let's take a look at Ferdinando curlies waltz. Now this is using some of the techniques that we already came across for the right-hand and the left-hand, We have to be a little bit careful with some of the fingering. So let me just walk through this. It's written in 38 times, so we have 3 eighth notes to every measure. So the first three notes are em in the eye finger. To plot second, third string. Now we're going to press down and one on the second string and fret too on the third string. Fret too on the third string, you want to place the third finger so you want to be careful with that. And the reason wolf be apparent in a second. So we do this. What we need to do now is place a finger on the fifth string, on the second fret. So because we use the third finger there, then we have that second finger ready there to place down on that fifth string. And then when we do the, the third fret, second string, we have the fourth finger ready? So that's, that's utilizing the fingers in a very efficient way. So again, here we're placing fingers 13 second finger on the fifth string, and then fourth on the second string. So this is how it goes. So now here we are using p m, and here is marked a i. So this is kind of we using Canada home position fingering. So when it's on the second string, we use the m finger. When it's on the first one we use the a finger. So there's the M I, a, and again m i. And that's a repeat. Remember to put the third finger. And there is not marked, but I recommend using MI and then you could use you could use either MRI there. Now is look at the second section. Now in this second section. The first measure in the second section in the third measure marked pm. So you could use PMI also for the second, second bar. This mark for the third bar, MI. In fact, the easiest way here is to use, just use EMI. For that last one. Since you got PM I, it would be logical to use the M finger if we're doing alternate fingering with the with the right hand. So third section we have a similar sim, similar Wai Hen fingering plane, the bottom note with a thumb. Now here you want to be aware of the fingering. So here we're using fingers one. And if you put the third finger rather than the second thing, he put the third finger on the second fret. Because following that, we're going to use fingers 24. Okay, so once again, the value is 13. So that's the third section. The fourth section. Now we're going up to the second position where we're playing. And here you want to use a fingering 314. Alright, so this is an open string. Now we want to go 13. And again with, with two and fought back to this three on the second string, we've got the fourth finger, and you got one on the second fret of the third string. Open strings. So 13 there, and finishing with the second finger on the second fret of the fourth string. So that's Ferdinando curlies waltz. And this is typical classical style fingering that you will find and very, very worthwhile exercise to do with this with this wass. 39. Solo #7 Waltz (Playthrough): Okay. Okay. 40. Solo #8 Study (Tutorial): Now we're gonna take a look at a piece called Study by Ferdinando narrowly. And in this piece we have a top line which is mostly quarter notes, and a baseline which is mostly eighth notes. So the top line is going like this. That's the first section of the repeat. Together we have to try and be careful as much as we can to let the top-line, Singh and the bottom line stay as eighth notes. To do that, if we want to be very strict about this, we should be doing the damping. So that's that there's nothing particularly challenging about the fingering on the left hand for this, once we get to the second section, we have the same idea with, we've got the top line. Incidentally, this is in the key of G, and we have F sharp here. So this is a melody for the second part. And we have a similar kind of thing going on in the baseline. So it goes like this. Now here on that last few measures, towards the end of the second section, we have. And it shows the fingering for the right hand is MI. And for the left-hand that shows the forefinger. The reason being that you need the third finger to go over to the G to play that last pair of notes there. So that's a second section. Now in the third section that the melody of switch now to the base. Now one way if we want to be strict with the timing of each of the eighth notes is we could do we could do this. Now what I was doing there was am doing PIN as it's written. There, I'm doing free stroke. Here, I'm doing restaurant. And the restaurant. Following that is. So here we have fingers 13, and then we have fingers 24. We've come across this kind of fingering before. Now we've got, since we're playing the next note on the third string, second fret, we have conveniently the third finger there, since we've just come from, from this note here, we have the third finger we can put down there. And we can then know enough second finger there. And then the same kind of thing here, 13. So that's the third part. So once you're comfortable with that, then try that with the high-speed video. 44. Solo #9 Andantino (Playthrough): Mm-hm. 45. Solo #9 Andantino (Tutorial): All right, so now we have another. And then Tino, this time by Fernando saw. In this piece we have basically a baseline and a melody line. We have to be careful that we hold the bass notes to their full value because we have some, sometimes we have half-note, sometimes quarter notes. And in the top we come across now what we like to call pull ofs and hammers. And this case it's a pull off. And it's a pull off from the third fret to the first fret, but using the little pinky finger. So let me just step through this and then we'll see what we are going to come across here. So it starts off with a pickup note. It doesn't mark the fingering, but I'm just going to suggest use alternate fingers if you can. So they let the bass note ring. Now we come across this ball off, right? So we want to be careful of that fingering. Now if you just watch my fingers doing the walking, alternating fingers with the right-hand. And here we've got this. So that's the first part. Now we have a part which, which is and that repeats. Now here, there is some markings for some dynamics. It's showing 40, showing a piano. So we want to try and play that quietly. Now here I would pick up the volume a little bit. Now here we're going from two to four, finger to and finger four on string on the second fret and the third fret. Now you, you're going to have to stretch for that one. Following that, the third finger on the fifth string. And then you have another pull off. This time that pull off is onto a second fret using the second finger. So that's another, if you're not used to pull us, then there, there's another little challenge. So basically, you know, and you want to pluck it with little pinky finger there. That's basically because the part, the rest of it is actually a repeat of the first part. So there are some new challenges here with, particularly with the pull off, incorporating, incorporating the pull off, some dynamics and just being careful with the fingerings. So as we progressing through the book then, you know, we're getting additional little challenges. So have fun with this one. And in the next track, it will be of course, slow version which you can try to play along with one ship got little bit familiar with this. 48. Solo #10 Andante (Playthrough): All right. 49. Solo #10 Andante (Tutorial): Now we're gonna take a look at a piece called Andante by Fernando saw. And as I mentioned before, and Dante is walking speed. And the other pieces and anti-nodes are supposed to be a little bit faster than that. So here is supposed to be a leisure Lee, peace. So what we have here is basically use of the, what I call a home position where you have fingers, IMA on strings three to one. And we have to watch the bass notes, keeping those notes alive as we go through with the top melody. So I'll just walk through this and then you can see what's involved here. So we're starting here with the fingers in the home position and is going like this with a bass note which lasts for four counts. So that's the first measure. And then we have, so he's, he's using m, a, m. Now here he's using the a and the i finger. Now an interesting thing here is that that node, when you play that note, it's actually shown as a half note. So then, so he supposed to get that, that affected those two knots ringing together. So you wanna be careful with the left-hand finger not to disturb that night as I just did there. And then next measure here is using the thumb for the bass notes on the third string. Actually shifted those fingers overs like shifting the home position over to the strings for 32. And that, and that top note there is supposed to ring. Alright, so going into the next measure is shown as a forte. And he's got fingers. He has m. So there is using the M finger. And incidentally those, you wanna be careful that those notes can ring out. In this measure. That note doesn't show us ringing, So so you want to be careful there. So what I did there is I lifted that that little finger up there so that that note wouldn't ring on. Now into the next measure. We have, we have the top melody as half notes. So it's going like this. And then the next measure, the bass notes are going to be half notes. And then the bass note here is a whole lot. Now moving to the next part is the melodies singing over the top here. And again. I should let that run. And he has that he has that that be there lasting for three counts. So it should go make sure you stop that note right there if you want it to follow the the weights written. Ok. So here we go for the next part, but he has the note held there in the base. This part's a little bit different. And he's got this note. So if you want to be meticulous about this, then this poses a certain amount of challenge. And I think it's, it's worthwhile if you do it because your technique will develop after this, will be the slow part once you become familiar with this. And you can play at half speed. 50. Solo #10 (Slow): Okay.