This piece presents a great workout for your hammer-on technique. …
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C3.6.11. Albazo – Spot Practice
Once you establish the right-hand fingering for this arpeggio-based texture, it will keep repeating with slight changes. At that point, focus on the left-hand fingering, emphasizing the melodic line, …
C3.6.12. Albazo by J. Cardoso – main view
Aim for a very legato (connected) performance on this piece. …
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C3.6.13. Study No. 14, Op. 35 by F. Sor – Close-up View
Note the unconventional fingerings that allow the flow of the passages to be more dynamic, such as the use of the second finger on the first fret. …
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C3.6.14. Study No. 14, Op. 35 by F. Sor – Spot Practice
This contrapuntal passage is one of the most challenging textures involving two lines that you have encountered so far. Note that p plays the bass part exclusively, while you use an i-m alternation in …
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C3.6.15. Study No. 14, Op. 35 by F. Sor – main view
In the canonic section (formed by two imitative lines), make sure that the melody in each line is heard clearly and is rhythmically accurate. …
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