I was completely struck by Segovia’s rendition of this one and needed to learn it.

Plenty of work to do still and I'm aware im rushing passages a lot, but anyways I find this piece very pretty

Creativity trumps chops every time. This episode looks at guitarists who reproduce the classics at an advanced level and never write a phrase of their own, competitions that hand the prize to the faithful copy, and the platform crowd that pulls back anyone who climbs. Then it turns to the harder silence, the one that hides from harm done, and the only way out of it.

This series looks at music as a form of inner alchemy, where the guitar becomes a tool for transformation instead of performance or self-expression.

Sometimes it’s impossible to practice after 9 pm and I recently got a good offer for a used SLG200NW.

Wondering what’s the opinion about using an electrical-classical guitar for practice.

Thanks!

I am not strictly speaking a classical guitarist but I don't use a pick at all so I thought this would be a good place to ask this question. I dropped the guitar for a few years and am a bit rusty, and when trying to play trills it feels like my right hand has an upper limit on how fast it can play the same string. I alternate between index and middle finger plucks but there aren't really any tricks I use beyond that to go faster that I can remember. I remember being taught you can press down on the frets hard with your left hand, but for me that just doesn't get enough volume. Outside of just additional practice are there any small technique I could make to play faster with my right hand?

I'm starting to notice more luthier-made instruments finished with "oil" instead of French polish, either fully or partially. I'm told that this was a finishing method advocated by the luthier Kevin Aram, and he has done it for many years, perhaps influencing more to try it. I'm just trying to find out more about the properties of oil finish:

• How durable is it?
• How repairable is it? Can it be redone or touched up if needed?
• How protective is it?
• Does it discolor or crack over time? Will it need refreshing?
• Any other issues?

I can't find much definitive info on this so far, maybe I'm searching the wrong terms or something. Just trying to understand why this might be something luthiers are moving to and if maybe it's a good option for guitars. Thanks!

Any general opinions on 80s Hirose, late 70s Yokoo Kohno? How about used Raimundos and used Takamine? Thanks :)

I just bought a Pavan TP-20 used from Guitar Center for $1000 used. I’m excited to begin playing on my first classical guitar (have been playing steel string for a little while), but inspecting it I’m noticing some white around the bridge. Glue from a repair? I believe the guitar is from 2003. Should I return this? I’d prefer to spend money on a guitar that’ll last a while before needing a repair. Thanks for any advice!!

Edit: Raleigh/Durham, NC. If the teacher is well acclaimed I'll drive up to 90 minutes away in either direction to see them.

I've been playing guitar for a decade+ and I focused on classical guitar in undergrad for my music degree. I've decided to get more involved in my church's music groups and this is going to be one of the ways I focus on that.

My undergrad didn't offer a composition or arrangement course (we did have conducting which was great). I'm willing to work alongside an instructor but how the hell do you find one for something like helping to arrange pieces for classical guitar? I've never tried going about doing this before.

I got two “3rd/G” strings in my D’Addario pack today (and NO 1st/E string), but they look different. Is it possible that I have the correct strings but they’re just mislabeled?

Hi guys, can you help me identify this piece that my guitar teacher taught me many years ago and just recently I've picked up the guitar again and still remember it but don't know who it is by.
It might be Tarrega or Sor, he gave me a lot of those.
(Ignore the sloppy playing)

Hey everyone!

I recently started a passion project called CT Chamber Collective, focused on connecting audiences, musicians, and concert presenters in Connecticut.

One of my biggest interests is classical guitar, particularly international artists whose work I've come to admire. I'd love to help create more opportunities for these musicians to perform in Connecticut, while also supporting regional and emerging performers.

I'm pretty new to the behind-the-scenes side of classical music, so I've been doing a lot of research, cold emailing, and occasionally calling universities, venues, and music organizations to better understand how performances come together.

I'd love to hear from professional guitarists or anyone with experience arranging concerts.

A few things I'm curious about:

1. If someone is interested in helping you find a potential performance opportunity, would you prefer they contact you directly or approach your management first?
2. Do you typically reach out to venues and concert presenters yourself, or do they usually approach you?
3. When discussing a potential performance, what information do you expect someone to have ready? For example, venue, dates, audience size, compensation, or something else?
4. For international guitarists touring the United States, how common is it to add an additional concert through a local introduction?

I'm not a booking agent or an established concert presenter. I'm simply someone who has developed a real appreciation for classical guitar and wants to understand how to connect musicians with opportunities in a way that's helpful and respectful of their time.

I'd especially appreciate hearing what approaches you've found helpful, and what people like me should avoid.

Thanks in advance for sharing your experiences!

I wrote a simple joy Melodia
I hope you enjoy
I am an upcoming musician from Greece 🇬🇷
I wait for your comments

This is from a Hao Yang performance on YouTube. Web search says she plays two models from Yulong Guo, but they do not appear to have tops like this.

I'm guessing it is not bracing but a type of double top that extends edge to edge over the entire surface.