An adaptation of Giuliani’s Op.48, No.4

No. 19 – Scale Etude (alternating i-m) for Classical Guitar from my technique book 20 Favorite Exercises (with TAB) but you can also check out my more extensive Classical Guitar Technique (Notation only, 122 pages). YouTube Video Lesson Link (4k)

This is an adaptation of Giuliani’s Exercise Op. 48, No. 4. This exercise was originally written with legato slur markings. It’s been rewritten here without the slurs to function as a scale etude with alternating i-m fingering (you could also use m-a). Check the original or online facsimile for the slurs if you prefer extra study.Play with alternating i-m fingers the entire time. Don’t use other fingerings even if they appear easier. Remember, you’re using this as an exercise rather than a concert piece, therefore, overcome the struggle of awkward string-crossings and never-ever repeat a finger. Do not add slurs. Aim for a perfect legato sound. Don’t make excuses or let yourself get away with anything non-legato. If a spot is giving you trouble in your legato you need to fix it and connect the notes. When I say legato I mean LEGATO! Think of the human voice or a flute as a model.

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Bradford Werner
Bradford Werner

Bradford Werner is a classical guitarist and music publisher from Victoria, British Columbia, Canada. He originally created this site for his students at the Victoria Conservatory of Music but now shares content worldwide. Curating guitar content helps students absorb the culture, musical ideas, and technique of the classical guitar. Bradford also has a YouTube channel with over 94,000 subscribers and 13 million views. He taught classical guitar at the Victoria Conservatory of Music for 16 years and freelanced in Greater Victoria for 20 years and now dedicates much of his time curating content online and helping connect the classical guitar community. See more at his personal website.

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  1. Hi Brad, in this study as well as some of your other lessons and Sheet Music I’ve noticed that you always use finger four of the left hand to play D in the second string on the third fret. Why is this? Is there a particular reason given that when you’re playing through a C scale in the first position your finger three is available for the second string of the third fret? Thanks for your help, John, Boston Massachusetts USA