Two ideas on learning new songs

It seems pretty straightforward: you start at the first bar and finish at the last. I’ve learned a lot of songs that way and could keep on doing it if it was not for wanting something new. So here are two not so obvious ways of approaching new piece of music.


Start at… the end! If you always start at the beginning then the first bar is probably learnt the best and the last… you get the idea. Instead start at the last bar (last phrase or whatever) and just stick new segments on top of what you’ve learned. I used it for the first time with Tommy Emmanuel’s Bella Soave. Let me tell you: it feels very refreshing. It also gives you whole new inside into the song you’re learning. You can also mix it by starting with a bridge, or B part.


If you anticipate some difficulties in the song (for example a difficult lick, chords or whatever) start with it. If you’ve listened to the piece a lot (and you should) you can probably figure out which part will bring you the most frustrations. Instead of leaving this part for the end start with it and get it over with. That way if you simply aren’t able to learn it you won’t loose time for learning the rest of the song. Moreover it won’t be hanging over your head like an axe. Instead you’ll have comfort of knowing that the worst is over. For example when I was learning Tommy’s arrangement of I go to Rio (quite some time ago), I didn’t know if some of the licks are even within my reach. Having learnt them at he beginning, the rest of the song was pure pleasure.

Did you come up with any unusual ways of practising new songs? If so, share in comments section.


Quick beginner tip on left hand

The good way to think about pressing single strings (not applicable for barre though). Just think about it like driving your nail into the fingerboard. Your nail and the fingerboard should be at 90 degree angle to each other. That way you’ll make much more space for strings below.

Another way to approach this: when you look down on your left hand you should see whole the nail of a fretting finger. If you see just the fingertip then your finger is too flat.

In general you should try to maintain the arch-like (or claw-like) shape of your left hand fingers. Arch is the best way to transmit movement of your muscles into your fingertips (look at architecture).

One last thing: if your nail is too long it will hit the fingerboard before the string is pressed to the fret. Keep them short.

Strategies of the greatest #1 – Pepe Romero

I start a cycle of posts where I’m going to take the best guitar players and extract and analyse their approach to music, playing, learning, to show their strategies and their thought process. Right at the start I expect to find some similar points in all the greats but also a lot of individual differences and even conflicting ideas. So for the first part of our course we’ll take…

Pepe Romero

He is one of the greatest classical guitarists ever. His career spans over almost 6 decades. His technique is incomparable. But I’m not writing his biography. Here are most interesting things I got from him (bold) with a little of commentary (not bold).

Be eternal student – Absolutely. Guitarist stops learning the day he dies. You’re never a complete work. Never!

Balance of mechanics and spirit – Technique is important but it’s only a tool that helps you express yourself. If you have nothing to express your technique is just a circus trick. For me the problem is the other way around. I approach technique in periodical dashes. It probably would be better to include some technical workout on a daily basis. Watching Pepe however always makes me want to do some more work on it.

Think about what you play as easy – This one is so important. The way we perceive reality might not change it but it sure can change our performance. Worrying about difficult parts in songs makes you tense and make mistakes. We play best when we’re relaxed.

Keep balance between practising and keeping it fresh – This one is difficult for me. Playing the same song for hundreds of times sometimes makes it flat emotionally. But not playing it… The light in the tunnel is that with each new songs it takes me less and less time to master it. Taking breaks from some songs helps as well.

Piece doesn’t begin with the first sound. It’s surrounded by silence – There is nothing worse than starting to play the piece mindlessly and only then trying to get inside it emotionally. You should always do it before you start playing. Give yourself this moment of silence before starting to play to fully get your mind into it. Same goes with an ending. Let it fade (especially in slower pieces).

What do you like? Develop your taste – You have to work on your musical taste. You have to know what you like in others (guitarists, singers, cellists, whatever) and then search this sound while playing. It’s your job to tell the difference between good and bad sound. Especially in your own playing.

What it should sound like? What it should feel like? РThese questions are almost equally important in playing the guitar. Take the feedback from both sources  while playing. Try to imagine the perfect relaxed movement and then try to achieve it.

Best way to bypass the nerves is to dive into the sound – Having problems with stage fright? Just start playing and loose yourself in music. Practice your concentration muscle so that it becomes more and more obedient. Then, just concentrate on playing.

Eyes should be looking at where left hand has to go – You don’t have to watch your left hand, but if you do, always look at its target before the change of position. When you try to throw a rock at something, you look at the target and not at the rock in your hand. Use the same principle when playing.

What limits you in playing fast isn’t how quickly you can move your finger but how quickly you can relax the muscle after that –¬†This was mentioned when studying fast playing with two fingers at the same string. I use it in many other situations. The factor that usually slows me down is not speed of my finger (or hand) movement but the fact that right after playing something the muscle is still tensed. This makes the next motion more difficult. Working on impulse playing (quick movement followed by total relaxations) really helped me.

Here are some interviews and master classes that I based my post on.

Just a short motivational interview:

Pepe’s approach to Concierto de Aranjuez – best known guitar concert. Understanding piece’s emotions:

Two hours of master class. Long gut super interesting. A must-watch!


A lot about technique. Check other videos on Andrey Parfinovich’s channel. There is more there:




Chet Atkins’ delusive triplet roll

Why delusive? Because it traps you into thinking that triplets start in a different place. Have a listen at two examples, one by Chet and one by Tommy.

In this video the lick is at 2:31. It contains three triplet groups.


In this video a very similar lick starts at 1:39. It contains four triplet groups.

When I first stumbled upon it seemed obvious that the roll contains triplets played on three strings by repeating thumb, 1st and 2nd finger. Something like this (hold Emaj for this ):


However no matter how long I tried to time above licks in this manner I always finished earlier than the original. It took me some time to find my mistake. And the mistake was the first group. It actually isn’t a group played on three strings. There is a hammer-on there so the first two notes are played on the same string. Here is a rough transcription of those two lick:


Chet’s lick starts on the second quarter note (on two). You play open 6th string with your thumb. Then goes the hammer-on and then the 5th string which is the last sound of the first triplet. It means that you begin second triplet with the fourth string plucked by second finger. The lick is based on C/G chord (C with G as the lowest note). Both 6th and 5th string are covered by third finger but you can use 3rd and 4th.


Tommy’s version is a little longer. It starts on one but the rule is the same. Chord is a bit more complicated. It’s C11 with F in the base and #5. you grab 6th and 5th string with your thumb in this one. Put your capo on 2nd fret if you want to play with the recording.


What fooled me in the beginning was natural grouping imposed by right hand fingering (thumb, 1st, 2nd). If it’d coincided with the triplet groups it would have been easy but at the same time it wouldn’t have finished on the first note of new bar (on the beat). By beginning with two notes per string and only then switching to normal right hand pattern the last note of the right hand group is also the first note of another triplet group or of anything that comes after the lick. Be finishing on the beat it it has more final sound to it.

This pattern is easily applicable to any chord as long as you can put those two notes per string in the beginning. The lick sounds good at the end of a phrase.


As a dessert, for comparison let’s look at very similar lick played by Buster B. Jones (1:56):

This version has normal beginning and so to end on the beat the last note of last triplet is repeated by the thumb.


Beginner fingerstyle song with tabs

This is a video lesson that I published quite some time ago but I guess it would be nice to put it here for anyone not familiar with my youtube account. The song is called Baby Steps and it’s in A maj. While writing it I was avoiding all the beginners dreads like barre, wide fingerings, weird chords or thick texture.

Here you can find tabs in gpx and pdf.

If you need help with some parts of it or want to share your thoughts please leave a comment.

How fast can I learn fingerstyle?

This is the question, so many students asked me in one way or the other. Usually it comes disguised as “How long would I have to learn to be able to play (like) this?”after I play some showstopper like Classical Gas for them.

The answer depends on so many factors (beginning with: are you going to play 0,5 hour or 5 hours a day?) that it’s literally impossible to cover half of it in one post. So leaving those factors for some other post, let’s concentrate on how the learning process looks like from my 10+ years experience perspective.

Birth pains

The road to fingerstyle mastery is long and winding. We start with clumsily plucking strings and grabbing easiest chords with force that squeezes life out of our guitar neck. This stage, depending on your hand size, your coordination, your muscle tonicity and finally your dedication can take anything from a month to a year or two. Especially young students need more time before left hand sort of springs to life and starts working decently. And you still have your right hand to work on. Nevertheless, in first year of playing you should be able to play some of the easiest fingerstyle compositions.

Careless childhood

Once you overcome initial difficulties you start to gain momentum. Each new song is like a piece of jigsaw in what you aim to be. For me, years 2 to 5 of playing were years of rapid repertoire growth. They where also years of really struggling with tension in my hands. My tone was very bad back then.


After couple of years you wake up with considerable amount of songs and with a lot of new found doubt about your skill. This doubt is caused by your growing musical conciousness. You simply notice more and more of your flaws. I guess that many aspiring guitarists stopped at this level as it can be devastating at times (the “I’ll never be able to play like this” mentality).

Growing up

If you overcome this bump you enter the period of polishing your skill. Your repertoire isn’t growing so fast anymore, but, what’s most important, your tone and time keep getting better and better. You simply can’t stand sounding bad anymore. That’s why you might slow down with new songs to work on what you’ve already learned.

Never grow up!

So after few more years you find yourself with nice set of songs and rather good sound. You add more and more really difficult songs (quality over quantity!) which are most rewarding. Maybe you also expand your spectrum of techniques (I started to play with plectrum at that time – so called hybrid picking). For me this stage came after about six years of some serious practice.

This stage is when you sort of regain your confidence. I could already enter a stage and give an hour long concert. I also had a nice feeling that sooner or later I would be able to play anything I wanted. But was it over? Far from it. For every thing you learn or master at this stage there are two new things looming on the horizon. There is so much work ahead of you (me).

So which of those stages is “I can play fingerstyle” moment for you? For me there is no such moment. There is just a continuum of growth which could be ended only by death or hands amputation ;). Please share your thoughts on the topic. How do you see your guitar road?

Greetings fellow guitarists!

With this post I open my blog about fingerstyle guitar.

The main purpose of this blog is to provide educational material to anyone interested in playing this beautiful style. It won’t be a consistent course or educational program however (unless it crystallises with time). Instead I’m going to post educational bits and pieces that will help you in developing yourself musically. You will find short lessons on any topic I can think of here. I will also post most interesting guitar related internet discoveries and anything music related I’ll find relevant to our topic.

Before diving in you might be interested in reading the About Me page.

Have fun!