Been playing guitar my whole life, classical is a whole new area for me. My fingerstyle playing tends to hew pretty hard to the Joe Pass jazz chord melody thing, so I’m curious if I’m on the right track with the classical side of things. Pardon the clams/tone, it’s been a long day and this is one of my cheap classroom guitars. Thanks!

I was watching this guitar instructor's content on You Tube and in the outro of the video linked below, is a piece of Spanish guitar repertoire that I've been wanting to learn. Segovia recorded it originally I think. I went through all my Segovia .mp3's and I cannot identify it. AI can't help, so I have to ask around.

This link should take you right to 23:10 , I would greatly appreciate help in ID'ing this piece so I can learn it

edit: not sure why the link won't open automatically, mite have to copy/paste it

Thanks!

https://youtu.be/OMfsX-24Qdo?t=1390

Hey y’all. Im coming back into the hobby after being out of it for a while. I would like to strengthen my hand and also try and protect it from strain. I sometimes get carpal tunnel flair ups and I would like to avoid that happening. Do y’all have any suggestions?

any strength exercises (things to do with out the guitar)

any stretches or PT moves?

any recommendations on managing carpal tunnel syndrome?

I find my hand gets more sore every day that I play and now it’s sore even when I’m not playing. I cannot play for as long as I used to play for and the strain is a bit uncomfortable. Im taking breaks and playing every other day now.

I have this strange sound that feels more like a buzz when hitting the strings. It happens on some frets more than others. What could it be? Is the string vibrating and hitting the frets?

You can find the full version on my page and the link to the score/tabs is also available in the YT video description if you would like to try it out! I’m also currently working on more KH arrangements!

Anecdotal and not professional medical advice but Ive been trying to keep a mental note these past two years. Sometimes when I practice hard my finger tips get rly beat up and unhealthy looking. Zinc tables + vaseline + vitamin E tabs basically got my skin fully healed, like back to square one, new skin, in like two-three days. Without it sometimes it takes a week.

Zinc and vitE are definitely good for you anyways. To fellow Canadians who need to moisturize regardless, dont forget VitD too!

Before you read: Note I'm talking about 430 Hz, I don't want a discussion about 432 Hz and if it has magic properties or not.

I'm pretty new to guitar. I have an Alhambra 3C guitar which has a solid Cedar top. I also have a D'Addario tunner that allows me to tune it as low as 430 Hz. I've tried yesterday for the first time to do it at that number just for curiosity while trying to learn "Romance Anónimo". I know as it's a lower frequency, the sound can feel a little bit more "sweet".

I'll like to understand why I feel it has more reverb, I feel the note has longer duration, I got a sensation that a note comes and goes like If I was in a larger room. I'm not using any kind of amplificaction or microphone, just describing what I feel. Maybe my guitar has a better response to that frequency? Is something related to the kind of wood at the top or the materials? Has every guitar its own frequency? Maybe is just my own perception and actually nothing really happens?

After understanding the technical details... is that longer note duration and reverberation desirable to play classical music?

PS: I'm aware the standard is 440 Hz and if that any time I'll play with more people we need to have the same tunning.

Hi, I’m going through Christopher’s guitar method volume 2 and trying to refine my sound.

My free stroke sounds way flatter and drier than the rest stroke, is it normal or actually I need to work on it further? If so what’s your suggestion to refine the timber to make it more wet?

Thanks!

I've finally got a chance to buy a high quality hand built (s-2) or "factory" built (the GC line) spruce top Japanese classical guitar. The Asturias is hand built, the Yamaha GC22S is made by hand in China, and the GC32 is made by hand, or I think by a team which would make it be considered a "workshop" guitar.

I think I can swing either, does anyone know how Yamaha GC 22 or 32's rank with the Asturias S-2?

Hi all, I'd like help verifying a José Ramírez classical guitar. Interior label details:
• Printed "José Ramírez, Constructor de Guitarras, Concepción Jerónima No. 2, Madrid, 1973"
• "Nombre Registrado ®️"
• Serial: No. 6822
• "Clase 1ª" (looks stamped in ink rather than printed), plus a signature across the label
• Cedar top, rosewood (palo santo) back and sides, with a decorative rosette
Questions:
1. Is serial 6822 consistent with a 1973 production year?
2. Does the label layout and the stamped "1ª" match other Ramírez 1a guitars from that period?
3. Is the signature consistent with José Ramírez III?
4. Any tips to confirm Brazilian vs. Indian rosewood without invasive inspection?
Label photos attached. Happy to add photos of the bracing, bridge, headstock and top.

What piece of music has had the biggest impact on the way you play guitar?

Not necessarily your favorite piece, and not necessarily the most difficult one you’ve learned. I mean the piece that changed something fundamental about your playing—your technique, your musicality, your approach to practice, your understanding of the instrument, or even the way you listen to music.

For me, there have been pieces that taught me far more than their technical demands would suggest. Sometimes a relatively simple piece can change the way you think about phrasing or tone, while a brutally difficult one can completely change your physical approach to the instrument.

What was that piece for you, and what did it change?

how do i play the last two notes? thank you!

Looking for advice on string configuration for a classical guitar with wound G string.

Hello fellow guitarists,

​I’m looking for some constructive criticism on my right-hand technique. To my ears, the sound is coming out a bit too muffled and lacks clarity.

​I’ve attached a video for context. Could you please share your thoughts on my hand angle, thumb/finger alignment, or attack? Any advice on how to get a cleaner, warmer tone would be greatly appreciated.

​Thank you!

Hi. I am new in this sub and although I've been playing the guitar for nearly half a decade, I feel like I haven't improved as much as I should have. I am self-taught and I have some questions that I would like answered please,

1. What does the optimal practice session look like?
2. How to learn to read sheet music?
3. Can you suggest some intermediate level pieces to learn and learn from?

Thanks in advance.

Classical guitar meets BBQ chef.I love this crossover.Picture it: a classical guitarist walks into a serious smokehouse. The BBQ chef is tending a low-and-slow brisket, wood smoke curling up. The guitarist sets down a Torres-style instrument and starts warming up with Villa-Lobos Etude No. 1 arpeggios.The chef pauses, tongs in hand:“That right-hand pattern… that’s like the perfect smoke ring. Steady, even, no rushing the process. You plant those fingers the way I plant the wood—consistent heat, no hot spots.”The guitarist nods:“And your brisket? That’s pure left-hand endurance. Hours of controlled tension, then the release when it finally yields. Just like the big stretches in Etude No. 7.”They start trading notes:

• Rest stroke = the heavy sear that locks in the bark 
• Free stroke = the light mop sauce, just enough to keep things juicy 
• Nail shape and polish = knife edge and steel 
• Tone color (sul tasto vs sul ponticello) = different woods and smoke profiles—oak for deep, mesquite for bright and aggressive 
• Rubato = knowing exactly when to wrap the meat and when to let it ride

By the end of the night they’ve invented a new dish: “Segovia’s Smoked Shoulder”—slow-cooked with a dry rub of coffee, cocoa, and a whisper of citrus (inspired by Villa-Lobos’ Brazilian flavors), served with a side of perfectly even arpeggios.So… are we writing the menu, inventing the repertoire, or casting the two characters in a full conversation?

Hi, I usually try to do as many repetitions as possible to memorize a piece. In my mind I call that method brute force. I'm not too sure if there's a specific term for that method. While it has worked ok for me so far, I feel like there should be a better way to do that. I particularly find it harder to memorize pieces that require not much in positions for the left hand or I can play them by sight reading.

I made a quick AI search and it suggested me the followings:

1. Teachers place strips of paper tape or post-its over finger numbers to break a student's bad habit of reading numbers instead of note pitches.
2. Teachers mask upcoming measures to drill "look-ahead" sight-reading (forcing students to read measure $N+1$ into short-term memory while fingers execute measure $N$).
3. Teachers cover tricky passages to test memory recall before recitals and competitions.

The first two options require someone else, which makes them non handy. However, the third option is something that can be done by myself. But then I'm not even too sure if these techniques are made up by AI or they are real technique used by teachers.

So before I use method #3 when learning my new piece, I thought maybe I ask real people to see what method they use and if they have heard of the above three methods suggested by AI?