‘Rasgeado’ is an umbrella term. Basically, it’s a hit-like strumming. There are a lot of combinations, some use index and thumb, some use other fingers. I did it using p,i,m,a.
Basically everywhere ) The way they use thumb is far from classical, it’s a rotational movement. The same with fast triplets,quadriplets. It’s a fast rotational motion, opposite to classical ‘calm’ position.
sorry for russian dubs ) but the video is obvious itlself. Here he explains the basic techique
Wow, cool! I have never seen that.
Yep. Any classical teacher would kill me for that ) But since I’m selftaught I used a combination of techniques from different styles.Basically I was trying to imitate sound of LPs we had at home. And I was a kid so I didn’t know much about styles and genres
A quick answer here.
Classical guitar has an extensive library of methods at your disposal. And there are many “schools” you could follow.
I’m a classical guitarist myself and a fan of following methods.
I’d recommend you:
Join the classical guitar forum DelCamp. It has 100% classical guitar courses ordered in a progressive fashion.
Work on your single line improvisation skills with the classical guitar technique. Not just pick
Learn your triads all over the neck, this is a daily job I enjoy doing (at least 3 times a week).
Work on your repertoire. I cannot stress enough the importance of taking notes of your right and left hand fingerings.
If you do decide to follow DelCamp free courses, by this point you’d have a solid selection of pieces that you’d be able to play. I do recommend you to keep practicing them. Make yourself a schedule where you always are playing a lot of things.
Keep always improving how you practice your instrument.
Play for others, share with others, play duets, play with your electrical guitarists friends and so on.
Use the classical guitar and your new acquired technique in many situations as possible.
Listen to this recording. You will realize how similar the many sections of this musical piece are https://youtu.be/5Mo_EybsGnU so, when you learn to play classical guitar it’s important that you learn to listen deeply and understand the structure of pieces like this one, composed by many similar parts with subtle differences.
Something the method books don’t usually tell you is: To play a classical guitar arrangement is like being a one man band. There is a melody part, a bass part, an intermediate section. You got to be in total control of this, no matter what style you decide to play on the classical/fingerstyle guitar.
Cracking the code material actually helps you being conscious of how you design your fingering patterns on the classical guitar too! Indeed I mentioned it a few days ago here in another post.
What a stroke of luck, the first video I found when searching classical guitar nail shape is really, really good. This is almost identical to what Julian Gray at Peabody taught me…way back when I was a young man of 18 
Just a couple supplemental points:
Once you’ve got nails down, it’s time for tone production. Lots of technique involved there so I won’t say too much about it. The demos he does about 3/4 of the way through are good though, because you can see his form from what would be your perspective. So, a great place to start.
The reason nail shape/care and tone production are a prerequisite to everything else in classical guitar is contextual. Remember, a traditional classical guitarist uses no mic. They were not invented at the time the instrument came to prominence Due to the guitar’s anatomy, it is not a loud instrument. Nail shape and tone production are the only way to get your sound past the first row of the audience haha. That’s how it was presented to me by Julian Gray of Peabody. So everything must be viewed from that lens. More advanced techniques build upon these constraints. Any classical guitarist without the ability to project a consistent, strong tone would not be seriously considered in that community. This is not to say they look down upon amateurs or weekend warriors at all. I’m purely speaking of the standpoint of one who would pursue this as a profession.
If you determine that your goal is simply to play classical pieces for your own enjoyment, all of this doesn’t matter much. You could just identify the pieces you want to play, find out what ‘techniques’ are required, and use concepts you’ve learned in CtC, or @Tom_Gilroy’s excellent work on efficient digital cycles to ensure your movements are efficient enough to play the notes required. The result of that would be (hopefully) you having some enjoyment and sense of accomplishment. If a ‘purist’ heard the result, they would likely sneer. So what
Again, I’m often torn in my feelings for the whole thing. Spending so much time in that world, it is difficult for me to even play ‘casually’ anymore. Picking up a piece I haven’t played for months or years would take some time to work back up to where I enjoyed the sound. I may not have time for that between work and family and wanting to shred Furthermore, I could not stand the sound of the instrument if I sat down to play it and did not have nails, or did not have my nails properly done. I wouldn’t enjoy the session at all. Keeping the nails in shape is a chore. I’ve been ruined I think lol!
An excellent video by William Kanengiser was also shared in this post by @johnhorneguitar.
Edit: I’ve just realised that linking to that post seems self aggrandizing, which was not al all my intention.
What sort of a narcissist quotes himself??? haha, just wanted to give a ‘case in point’ on this.
When’s the last time anyone can remember doing a barre chord, where the index finger had to bar 2 different frets at the same time??? David Russell is just…sick. I never stumbled across a piece that required it. Even still, most pieces I learned did require some very challenging stretches much like this, that had to be held for uncomfortable lengths of time, while moving left hand fingers independently and of course maintaining even tone in the picking hand. Tough stuff. Time for me to go work on some DSX lines!!!
Nice! and he even opens with Lagrima by Tarrega! That’s actually an excellent beginner classical piece.
Nah, you’re good. Very appropriate content for this thread. That video is great…plus, your thread also contains the video I’d included on nail shape, I just now noticed haha! All very related to embarking (or choosing not to) on some forays into traditional classical playing.
As for nails…That the way I recognize fellow guitarists: their left hand nails are much shorter than those on their right hand ) And I’m not an exception
btw, a friend of mine - he is not a melodic shredder but his rhythm playing is pure killer - have his nails cut short except that one on his pinky. When I asked him why, he said ‘it makes it easier’ without further explanation. Oh, and he plays acoustic only.
Maybe he is Randy Rhoads fan?
I can’t remember if it was Guitar World or where I heard someone comment on that about him. They may have mentioned occasionally seeing some cocaine on his pinky nail too haha.
)) I doubt it. Here in Russia we are not familiar much with western guitar iconic players. I mean, I didn’t know who Van Halen is until I joined the forum ^_^’
You are Billie Eilish and I claim my five pounds.
Don’t know who is he either ))
Regarding the history/standardization of technique, I came across these interesting articles
https://classicalguitarmagazine.com/towards-the-holy-grail-a-short-history-of-guitar-methods/
I will admit I only skimmed both. My takeaway - what is standard today isn’t exactly ‘hundreds’ of years old. More like a singular ‘hundred’ and that is being generous. At one point even playing with/without nails was a hot debate. Interesting. I think I mentioned in some post that I never questioned the origins of what I was instructed back when I received my education. What I got was definitely kosher in terms of what any modern classical virtuoso does. It is not, however, something that has been preserved with the care of relgious scripture or composition manuscripts of JS Bach, since the time of its inception. It is rather a careful refinement of various approaches.
Here is an amazing musician from my city talking about those aspects of speed playing on acoustic guitar. It might help!
Wow he is awesome. He seems more flamenco than traditional classical to me. Not in any way a criticism, just an observation. I’d need to see him playing a traditional piece in the repertoire to see if I need to walk that back at all.
What most strikes me about his positioning is that he’s balancing the guitar on his right leg. That is not a traditional classical posture. Now, for the sake of arguing (against myself lol) here is a video of someone who is definitely trained in the traditional methods, and he is also balancing the instrument on his right leg:
Doesn’t seem to impede him And if anyone had a negative thing to say about this performance, I’d be civil about it, but strongly disagree. Beautiful tone, beautiful interpretation. Nothing else matters! I’ve also seen him position the guitar more traditionally, on his left leg, wearing a tux. So who knows. Maybe he was just being casual/comfortable and didn’t care about the snobbery. As @7th11th mentioned, there is definitely some BS with the traditions. Not every little nit picky thing is as important as they make it out to be.
One of the interesting things in the second article is how certain things that seem to be accepted as dogma in classical guitar today were controversial or “revolutionary” as recently as the 1800s. Tarrega helped popularize the placement of the guitar on the left leg (with footstool), and helped depopularize placement of the pinky on the guitar face. And two students of Tarrega took different stances on whether to pluck strings with fingernails or with flesh alone. The article says the influence of Segovia is why “with fingernails” became the accepted practice. What’s perhaps most interesting is the claimed line of influence from Tarrega to Llobet to Segovia.
Edit: Reading up from the official website for Aaron Shearer’s work, it sounds like Shearer himself went through a “search for methodology” in classical guitar that bears some similarity to the journey @Troy illustrated in the “Cracking The Code” series that so many of us could relate to:
I know I’ve been pretty quiet since starting the thread, but I just wanted to thank everyone for all the cool contributions so far. I’m learning a lot!
I am learning some new stuff too! haha! I sort of wish I would have been more inquisitive of my instructors and asked ‘Why are you telling me to do all this? Who told you? Who told them?’
