This is a public version of the members-only Classical Guitar with Jason Vieaux, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Classical Guitar with Jason Vieaux.
Join Now

Basic Classical Guitar
Classical Guitar Reference Topics
Intermediate Classical Guitar
Advanced Classical Guitar
Special Guests
30 Day Challenge
Video Exchange Archive
«Prev of Next»

Classical Guitar Lessons: Sor: Progressive Pieces - Opus 44 No. 10

Video Exchanges () submit video Submit a Video Lesson Resources () This lesson calls for a video submission
Study Materials Music Theory Quizzes
information below Close
information below
Lesson Specific Downloads
Play Along Tracks
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Classical Guitar

This video lesson is available only to members of
Classical Guitar with Jason Vieaux.

Join Now

information below Close
Course Description

This page contains a transcription of a video lesson from Classical Guitar with Jason Vieaux. This is only a preview of what you get when you take Classical Guitar Lessons at ArtistWorks. The transcription is only one of the valuable tools we provide our online members. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
Log In
That was
number 10
from the
opus 44
pieces by
Tricky piece.
I, I mean, I, I find this one pretty
difficult especially in the right hand.
The right hand is really hopping around a
I'm gonna be very specific in the study
as you'll see, with the right hand
fingerings on this.
You're gonna wanna use the A finger,
which by this point actually if you've
gone through all the progressive studies
you're gonna have plenty of examples to
work through even just in this set
not to mention the other studies in the
curriculum, with alternating A and
M in order to play stem up melodies.
So this one really gives it a bit of a
workout, and
the thumb is jumping around a lot.
It's playing basses on the third string,
fourth, fifth, and sixth.
And all the while,
you have to keep a nice bouncy buoyance
kinda atmosphere to the whole thing.
So just walking through measure by measure
See, then, measure one.
So I, I'm gonna recommend M, MIP for this.
So that,
so that the bass line is basically being
played by the thumb that whole time there,
which is gonna mean that,
if you're on, you're not gonna want to
repeat your M or
I all the time for all these melody notes.
That's where your A, A finger comes in
A, and there's another A finger right
there on the open E.
So I'd say the second G melody, stem up,
note of measure one and the open E,
which should be played with A.
Measure three.
It's like, right here.
That, that second beat of measure three.
Here's another example, M, I, A, M, P.
So it's a very complex thing actually in
the right hand.
That's one instance where,
maybe, hm, you, you may want to not have,
be have the thumb playing all the bass
If you do want to try a different
fingering for that though.
See I switched to M, I on,
on the second measure here.
M, I and then M, I here.
If you want to continue using thumb for
all of those stem down bass notes,
then you'll be able to use more of the,
just the straight alternation in the stem
up notes.
That's fine.
So either fingering will work.
The one that I have has a little bit more
of like an equal
equally shared work among the four
But if you, if you would rather put, just
keep the stem down notes all, all played
with the thumb that will allow you to just
alternate with more the, your basic M, I.
So let's see and then just a musical kind
of thing,
expressive thing in the in the second
Where the, where the double bar line is in
measure eight.
I just employ a different color just for
something for contrast.
Starting here you'll, you know, you hear
the performance here.
You know, just something of a different,
a brighter color, patio cielo for that.
And also notice in measure ten, again,
that articulation, again more for the, for
the inflection,
rhythmic inflection of the piece and the
And that can be done simply by planting
the next finger early,
which creates the shorter note.
In the right hand, or you could just even
do it in the left hand,
just by lightly lifting the left hand
finger three on the D.
And then at the end you probably see there
if you watch my right hand closely and
you listen to the sound.
I'm employing some rest strokes there to
make it sound kind of like a fanfare, 14,
measure 16, and 17, the pickups to measure
Just to give it a little
bit more power and strength.
Something may be,
measure 20 may be a nice opportunity,
or even
there's three different ways that you can
actually add contrast,
some dynamic contrast to that last line,
measures 20 to the end.
You also notice in the last three, in, in
the last three measures I'm playing
the bass line, which has most of the
activity there.
The stem down notes all with thumb.
Just to give that line a little bit
of consistency to the sound.
And yeah no this is, this is a challenging
one I think this is definitely a step up
from the, from the last three or four
tunes in G major in the series.
So number ten allegretto.