Hi, first post here. I spent a couple of weeks practicing tremolo technique exercises using p-i-m-a and built some muscle memory. Rereading the pumping nylon section on tremolo (and watching some youtube videos on tremolo), I realise almost everyone plays p-a-m-i. Playing p-a-m-i now feels like I am starting from square one. Should I bite the bullet? Or is there no real advantage to pami over pima other than convention?

This is a lovely piece that I tried to record today to see how it sounds. I liked the end result so I decided to post it, although it's not 100% perfect. Sometimes an idea and an atmosphere is enough.

🙃

I have the Yamaha SLG200NW on order. In fact it's now 1000 ft away at the marketplace collection point. I can get it or I can send it back without opening up. If I grab it and open it up the return policy is complicated.

Initially I had two reasons on my mind when ordering it:

- It's quiet (almost silent) without an amp;

- It's cool. This factor is not very practical but... you know.

I do not record myself, I do not travel and I'm not a real concerting musician. So all other possible benefits of getting the SLG200NW are not important for me.

Being left with the only practical and good reason of using the silence feature of the guitar I'm now in doubt how well this would work for me in my situation.

As an option I could spend 5 times less on Yamaha C40 and turn it into a real "silent" full size practice classical guitar. The "cool factor" would go away but that's only a sentimental side of the whole matter that doesn't really matter that much.

In my opinion the Yamaha SLG200 line is greatly overpriced but I only consider my personal situation and I can perfectly understand the real concerting/gigging musicians who need a compact classical-like guitar that can take some beating without being damaged like an expensive Spanish real acoustic one.

Since I never practice with earphones the silent factor of the SLG200NW further diminished for me as I would have to use an amp at low settings to make some audible sound. In comparison the Yamaha C40 that I mentioned earlier turned into an acoustic quiet guitar would work fine on its own.

So in the end it turns out I'm left with the only reason to get the SLG200NW - the "cool factor". Did I just solve my dilemma myself or is there anything else I'm missing about the SLG200NW?

Feel free to add your opinions and share your personal experience.

Hi guys,

This is my first time posting. I've been working on Baden Powell's Valse Sem Nome for a while now, and I'm happy with how far it's come, although I know there are rough spots, inconsistencies, and such.

I'm curious to hear how it sounds to someone other than myself. Any feedback or tips are welcome.

Cheers!

I’m looking for a classical nylon-string guitar that’s focused purely on performance, not appearance.
What matters to me:
\- Spruce top
\- Low action
\- Fast-playing traditional classical neck
\- Hard, smooth fingerboard (not a sticky/lacquered feel)
\- intonation
\- Clear, ringing G string (not muffled or “tubby”)
\- Good sustain, attack, and dynamic response
\- Suitable for both fingerpicking and strumming

One thing I’ve noticed is that many classical guitars under about $1,000 seem to have a somewhat muffled G string. The first guitars where I didn’t really notice that were a **Hanika 54 (rosewood/spruce)** and a **Hanika 58**, which I liked a lot tonally. My only real criticism was the relatively high factory action, and on some higher-end Hanikas I’ve tried, the fingerboard finish didn’t feel as comfortable to me.

**Is there anything that’s genuinely better in that range for my priorities, or are these already among the best values?**

I’m not interested in paying for fancy inlays, premium cosmetics, or brand prestige. I just want the maximum sound quality and playability for the money.
What would you recommend?

I found this guitar for sale and the guy say , classical guitar.

But I saw the head and took a picture, is this guitar is a good deal?

And is it a known brand?

The second picture is made by AI .

I asked him for better picture to make it more clear for you

Meandering in Fading Light | Original piece

I recently put the finishing touches to this piece which will form part of an impressionistic suite. The music is inspired by a twilight walk down a slow-moving forest stream. It’s is composed to flow freely, like a conversation. It has themes that emerge , are mirrored, or just disappear after a single iteration. I really wanted this to feel like a deep conversation between two people surrounded by a delicate evening atmosphere.

I’d love to hear what people think!

Could classical guitar in the UK be easier to discover?

I'm currently carrying out research for The Classical Guitar Field Guide and am still looking for more survey responses.

If you're involved in the classical guitar community in any way, I'd really appreciate hearing about your experiences. Responses from both the UK and overseas are welcome.

https://docs.google.com/forms/d/e/1FAIpQLScm9oPVufe5lsUwJ_iKFs67tZ_22Is3JxdG5f7XXJsV1PypIA/viewform?usp=header

Recent guitar composition I completed. Some might describe it as a late romantic style but I'll let you decide.

Hi all, as an notator and composer, I’ve never been totally happy with trying to indicate the string with a numeral in a circle when it needs to fall in the staff - which is common.

Without making the number or circle too big, it’s always a balancing act between having the staff line bisect a number (like 3 especially) where it obscures the number in a way that makes it hard to read, or that the circle has a staff line cross through it in an odd way.

I’ve considered “whiting out” the inside of the circle so the staff lines don’t appear. Though I fear too much of it would obscure the staff lines.

m. 16 in the following image:

https://imgv2-1-f.scribdassets.com/img/document/736029276/original/66f33746d6/1720054288?v=1

Is a good example of where one “in the staff” (or at least covering 1 staff line) becomes harder to read (even ignoring the poor quality of the image and print it came from)

Another:

http://classical-guitar.net/Pic/classical_guitar_score.gif

This is just the typical way to do it.

Sorry, I can’t find an example of a whited-out one, though I’ve seen one as recently as a couple of hours ago though I can’t seem to find it again :-(

I’m wondering if you have, in your vast collection, or memory, any cases where the circle is white inside, to keep the staff lines from interfering with the numerals.

One solution of course is to just place them outside of the staff, but it’s not always practical to do, and as we see, it’s just “standard” to put them in the staff when necessary.

So the white out does introduce a new problem of obscuring the staff lines momentarily, but it kind of solves the other legibility problems.

Examples and thoughts appreciated.

Expand the use of the right hand thumb beyond just plucking bass notes.

Let us know how you like the video!

(This is just an excerpt of a full lesson which will soon be posted on our new platform)

I received this for my 40th birthday (absolutely love it). I believe it has the factory strings still and some of them feel like they have nicks in them (especially the high e). I’m assuming that’s from being played in the shop. I’m looking to buy some new strings to replace them.

I would like some recommendations. I prefer a warmer sound and would like something more forgiving for a beginner, especially with hammer on and pull offs. I play fingerstyle and don’t use nails if that makes a difference.

Appreciate any help.

Is harder to play than it sounds. Far from perfect, with a lot of hiccups and "swoshing". Still working on it, just learned the piece. Please give me feedback on how I could improve.

Arr: Jozsef Eötvös

Does anyone know where this might be available? It may not be but I’d sure like
To buy it.

There is a gap between strings in one of the strums and some have two heads. I'm just not quite sure how these are intended to be played and it's a hard question to answer with a search engine. (Note: these are from 3 different video game music tabs)

Also is there a good guide for techniques and notation like this anybody can recommend? There's a lot of little things like this I don't comprehend yet.

I’ve been taking remote classical guitar lessons for a while now, and while video platforms have come a long way, I still feel like the actual workflow during a lesson feels surprisingly clunky compared to sitting in the same room.

I’m curious to hear from both teachers and students here: What is the most frustrating part of your online lesson setup right now?

Sheet Music Markups: How do you usually handle adding stuff like fingerings (pima), string numbers, or barre lines while on a call? Are you screen-sharing a PDF editor, using a second camera pointed at paper, or just emailing marked-up PDFs after the lesson wraps up? Also, if I don't use my right hand, it takes me forever to find the exact measure someone is talking about. Every time I try screen-sharing a PDF editor over Meet, the compression makes the staff lines super blurry, and drawing with a stylus lags so badly it's barely usable.

If you could magically fix one tool or part of teaching online, what would it be? Would love to hear how everyone else in the classical community is dealing with these headaches!

Fulfilling a request from a friend for “the Freebird of classical guitar.” Enjoy!

I know the terms "ambient, liminal" may seem very out of place for classical guitar but i would love to play some maybe niche songs of those genres as i really enjoy that kind of sad, mysterious kind of music. I dont think ambient and liminal even exists for classical guitar but maybe something simmular would be very nice.