La Clasica

Classical Guitar Online Class

Classical Guitar Technique

Essential Exercises, Scales and Arpeggios

Beginner to Easy Level

By
 La Clasica Classical Guitar Techinque Phoe Aung

Practice Advice

oif{/f avhusifhcef;rsm; jyKvkyf&mwGif aysmf&Tifaejcif;onf a&&Snf *DwatmifjrifrIESifh zGHUjzdKa&;twGuf

t"duaomhcsuf jzpfygw,f?
avhusifh&mwGif tcuftcJrsm; MuHKawGUvm&aomtcg oifatmifjrifpGm vkyfEdkifcJhaom EIef;xm;jzifh avhusif;cef;udk
tydkif;ydkif;cGJjyD; pDrHcefUcGJyg/ ekwf tenf;i,fudkyJ wpfcsdefxJrSm atmifjrifatmifavhusifhygu? wD;cwfjcif; enf;pepfawGrSm
atmifjrifrI&vmygvdrfhrnf/
cufcJaom avhusif;cef;eSifh vG,fulaomavhusifhcef;rsm;udk csdefcGifvSsmndSyg avhusifhaecsdef wpf0ufcefUrS
cufcJaomavhusifhcef;rsm;udk avhusifhyg/ vG,fulaomavhusifhcef;jzifhtqHk;owfyg/
Metronome jzifh avhusifhcef;rsm; enf;pepfrsm;udk avhusifhyg/ rdrdwwfedkifaom tjrefeIef;jzifh pwifyg/ pHcsdefrsm;udk
rSwfxm;yg/ xdkpHcsdeftm;csKd;Ekdifatmif wjznf;jznf;csif;MudK;pm;yg/
tMudrfMudrftzefzef avhusifh&efvdkaomfjim;vnf; rdrdwD;cwfaeaomenf;pepfudk jyefvnf pOf;pm;oHk;owfyg/ udk,f[ef
vuftae txm; rsm;udk qef;ppfyg/ avhusifhrIudk rSefuefapzdkU tjrJowd&yg/
*Dwavhusifhcef;awGvkdyfzdkUtwGufawmh aeUaumif;aeUjrwfawG jyo'g;awG a&G;aezdkUrvdkygbl;? aeUwdkif;onf
avhusifh&eftaumif;qHk;aeUjzpfonf/odkUaomfvnf; avhusifhzdkU pdwfryg OD;wnfcsufajymufae&ifawmh vG,fulaom
avhusifhcef;rsm;udk yJavhusifhoifhygw,f/ vufacsmif;rsm; yifyef;vGef;aeygu &yfem;vdkufwmu taumif;qHk;yg rvdkvm;
tyfbJ temw&jzpfoGm;Edkifygw,f/
ajz;ajz;rSefrSefavhusifhjcif;onf oifh&JU vuftaexm;? toHxGuf? rdrdudk,fudk ,HkMunfrI? pdwfvufayghyg;rI? pGrf;aqmif
&nfudk aocsmapygw,f/ aocsmydkifEkdifjyDqdk&if t&SdefjrSifhEkdifygw,f/
Profectional Players, Advance Player awGawmif aeUpOf avhusifhcef;rsm; rysufruGufvkyf&w,f qdkwm
oifrarhygeJU/

Beginner Routine
Length: 5-15 Minutes. aeUpOfavhusifhyg?
beginners awGtaeeJU wpfaeU 5 minutes cefUrSpwifjyD; avhtusifh&vmrS tcsdefudk wjznf;jznf;wdk;yg/
Practice jyKvkyf&ef open string exercises listed rsm;udk tcef;rsm;zGJUay;xm;onf/

• Open String Exercises No.1–5

• Open String Exercises No.8–15
• Open String Exercises No. 20–36
• Basic Alignment Exercises
• Chromatic Scale on E
• First Position Major Scales: C, G, D

Beginner to Easy Level 1

La Clasica Classical Guitar Techinque Phoe Aung

Legend
Right Hand Fingering: p = vufr
i = vufndK;
m = vufcv,f
a = vufolMuG,f
c = vufoef;

Left Hand Fingering: 1 = vufndK;

2 = vufcv,f
3 = vufrolMuG,f
4 = vufoef;

Barre Abbreviations: BV3 = Barre at the 5th fret, over three strings (E, B, G Strings)
BV5 = Barre at the 5th fret, over five strings (E, B, G, D, A, Strings)
BIII2 = Barre at the 3rd fret, over two strings (E, B Strings)

Position Numbers: II. = play in second position (1st finger around the second fret)
V. = play in fifth position (1st finger around the fifth fret)
VII. = play in seventh position (1st finger around the seventh fret)

String Numbers: 1 = 1st string (E)

3 = 3rd string (G)
5 = 5th string (A)

Rest Stroke (Apoyando) After plucking the string, the right hand finger rests on the adjacent
string. This allows you to push the string inward to the guitar with a
deep stroke without accidentally sounding the adjacent string. It’s a
small economic movement often associated with a deep punchy sound,
although, that all depends on the sensitivity of your stroke.

Free Stroke (Tirando) After plucking the string, the right hand finger moves through the air
bypassing the other strings on its way toward the palm. This allows for
great relaxation and legato sustain since the finger does not rest on any
adjacent strings (therefore, not stopping any sound being produced by
other strings). Again, it all depends on the sensitivity of your stroke as
I’ve heard people play with deep and loud free strokes.

Legato A smooth and connected sound from one note to the next. The human
voice often sings with a legato sound.

Staccato A short, disconnected, or detached sound from one note to the next.
The opposite of a legato sound.

Beginner to Easy Level 2

La Clasica Classical Guitar Techinque Phoe Aung

Beginnner Daily Exercises

Open String Exercises with i, m, a

Ways to Practice Open String Patterns

1. tenf;qHk; (8)MudrfcefU tptqHk; avhusifhyg?
2. ay;xm;aom i-m. omru. usefnmvufacsmif; twGJrsm;jzpfaomm-i, i-a, a-i, m-a, a-m jzifhvJ avhusifhay;yg&ef/
3. vufacsmif; rsm; udk (p, i, m,a ) &GwfqdkjyD;wD;yg/
4. rest stroke , free stroke. ESpfrsKd;vHk;jzifhavhusifhay;yg/
5. For extra practice, try accenting the first note of each beamed group (the fingering is underlined).

1. Two Note Alternating Fingers with i-m / m-i / m-a / a-m / i-a / a-i

  
nmvufrudk MudK;MuD;rsm;ay:wifxm;yg?

      
 i m i m i m i m

2. Three Note Alternating Fingers with i-m / m-i / m-a / a-m / i-a / a-i

             
 i m i m i m i m i m i m

3. Two Note Alternating Fingers on All Strings with i-m / m-i / m-a / a-m / i-a / a-i

           
    
     
i m i m i m

4. Three Note Alternating Fingers with i-m / m-i / m-a / a-m / i-a / a-i

     
 
 
i m i m i m i m i m i m i m i

Beginner to Easy Level 3

La Clasica Classical Guitar Techinque Phoe Aung

5.. Four Note Alternating Fingers with i-m / m-i / m-a / a-m / i-a / a-i

 

 
 
    
i m i m i m i m i m i m
8. Three Finger Alternation in Groups of Four with a-m-i / a-i-m / m-i-a / m-a-i / i-a-m / i-m-a
Early-intermediate students rsm;atmufyg exercise tm;ausmfvTm;oGm;Edkifonf/

      
 
 
 
a m i a m i a m i a m i a m i a m i a m i a m i a m i a m i a m i a m i a m i a

9. Skipping Strings in Groups of Two with i-m / m-i / m-a / a-m / i-a / a-i


   
  
   
    

i m i m i m i m

10. Larger Skips in Groups of Two with i-m / m-i / m-a / a-m / i-a / a-i


           
          
i m i m i m i m

11. Skipping Strings in Groups of Three with i-m / m-i / m-a / a-m / i-a / a-i / a-m-i / i-m-a

      
               
   
i m i m i m i m i m i m

             
            

Beginner to Easy Level 4

 La Clasica Classical Guitar Techinque Phoe Aung

12. Larger Skips in Groups of Three with i-m / m-i / m-a / a-m / i-a / a-i / a-m-i / i-m-a


        
     
i m i m i m i m i m i m

13.
3 Cross String Exercise with m-i / i-m / a-m / m-a / a-i / i-a
atmufygexercise tm;teD;pyfqHk;MudK;rsm;rSmavhusifhyg/ nmvufacsmif;rsm;udk yHkrSef odkU ay;rxm;aomvufacsmif;rsm;jzifhEdIufEdIufcsGwfcsGwfavhvmyg/

                     
   

Normal: m i m i m i m i m
Awkward: i m i m i m i m i

14.
4 Descending Cross String Exercise with m-i / i-m / a-m / m-a / a-i / i-a
No.14 and No.15 udk oD;jcm;pDt&ifavhusifhyg/ xdkUaemuf vnf;aumif;avhusifhcef;ESpfcktm;aygif;pyfjyD; twuftqif;usifhyg/

   
        
    
Normal: m i m i m i m i m
Awkward: i m i m i m i m i

15. Ascending Cross String Exercise with m-i / i-m / a-m / m-a / a-i / i-a

       
    
     
Normal: i m i m i m i m i
Awkward: m i m i m i m i m

20. Alternation with p-i

vufrudk vufacsmif;awGa&SUrSm &dSaezdkU owd&yg/ *pfwmudk enf;enf;ydkaxmifjyD; udkifedkif&if wD;&wmydktpOfajyygr,f/

         
        
 p i p i p i p i p i p i p i p i

Beginner to Easy Level 5

La Clasica Classical Guitar Techinque Phoe Aung

21. Alternation with p-i on All Strings

 
 
    
 p i p i p i p i
            
22.
2 Skipping Strings in Groups of Two with p-i

   
 
 
  
p i p i p i p i

23.
3 Skipping Strings in Groups of Three with p-i

             
   
        
p i p i p i p i p i p i

             
            

Open String Exercises with p, i, m, a

24. Three Note Chords with p-i-m - No. 24-27 are played as a set.free stroke jzifhwD;ygnmvufr p udkvufacsmif;rsm;
ta&SUwGif&Sdaeygap/ vufacsmif;rsm; vufz0g;odkUOD;wnfoGm;yg? nmvufwpfckvHk; MuGoGm;jcif;? a&GUvsm;jcif; rjzpffygapESifh?

        

     
 m
i
p
5 Single String with p-i-m
25.

              
 p i m p i m p i m p i m

Beginner to Easy Level 6

La Clasica Classical Guitar Techinque Phoe Aung

26. Two Strings with p-i-m


             
 p i m p i m p i m p i m

27. Three Strings with p-i-m

    
  
  
   

p i m p i m p i m p i m

8 Four Note Chords with p-i-m-a - No. 28-32 are played as a set. free stroke jzifhwD;ygnmvufr p udkvufacsmif;rsm;
28.
WD 68Z*LI 6GDH\JDSYXIDFVPLIUVPYXI]JRGN82'ZQIR*P\J"QPYXIZSIFNY+N0X*R*PMFLI"D *8YVPMFLIUM]SII\JDS(6LIK"

 







 
 a
m
i
p
9 Single String with p-i-m-a
29.


                 
 p i m a p i m a p i m a p i m a

30. Two Strings with p-i-m-a

                  
 p i m a p i m a p i m a p i m a

31. Three Strings with p-i-m-a


    
   
   
    
 p i m a p i m a p i m a p i m a

32. Four Strings with p-i-m-a

    

         
 p i m a p i m a
  
p i m a p i m a

Beginner to Easy Level 7

La Clasica Classical Guitar Techinque Phoe Aung

Open String Chord and Arpeggio Exercises

33. Three Note Solid Chords - Expansion and Contraction

m
i
               
   
 p
           

          
 
        
    
34. Three Note Solid Chords - Moving Bass

                    
m m m
i i i
     
          
  
p p p

35. Four Note Solid Chords - Expansion and Contraction

a
m

 
i
        
                  
            
p
     

 







       
     
   

36. Arpeggio Accent with p

    

         
    
p i m a p i m a

Beginner to Easy Level 8

La Clasica Classical Guitar Techinque Phoe Aung

Alignment Exercises for the Left Hand

b,fvufacsmif;awGudk *&kpdkuf&rSmu auG;xm;wJhvufacsmif;yHk? vufacsmif;xdyf? aMu;bm;xdyfem;rSm ae&cszdkUyg/

vufacsmif;xdyfeUJ vufqpfawGonf strings eJUtjydKiftaetxm;jzpf&ygrnf/ vufrudk zvufaemufausm tv,f
wGif vufcv,fESifh tjydKifxm;yg/ uav;oli,frsm; vufacsmif; ao;olrsm;taejzifh vufuGufusOf;aom ae&mwGif
vufacsmif; tpOftvdkuftwdkif;xm;jyD; avhusifhEdkifygonf? tay:MudK;rsm;udk wD;cwf&mwGif i -m nmvufacsmif;rsm;udk
toHk;jyK&ef wdkufwGef;vdkygonf/

Basic Four Finger Position - atmufygavhusifhcef;wGif Ekwfzwf&eftcuftcJ&dSygu? vufuGuf eHywf 5 (Fifth Positon)
ae&mwGifb,f vufacsmif;rsm;udk pjyD; tpOftwdkif;xm;um avhusifhyg? toHk;jyKyg a one-finger-per-fret rule.

V.
     
3 4 1 2

  
3 4

2 3 4 1 2
 
3 41 2 1
1 2 3 4 2 3 4 1

    
   
   
    


4   4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1 4 3 2 1

3 2 1

      
 
      
    

1st and 4th Finger Focus - This exercise uses the same frets as above, except only finger 1 and 4.
Stay in 5th position, and use a one-finger-per-fret rule as established in the above exercise.

V.
 1 4

 

4 4

1 4 1 4 1 1 4 1

  
 

   

 

4 1 4   
1 4 1 4 1 4 1 4 1

   
  

 

 


Beginner to Easy Level 9

La Clasica Classical Guitar Techinque Phoe Aung

All Fingers with 4th Finger Focus

V.


4 3 4 2 4 1 4 3 4 2 4 1 4 3 4 2 4 1

            
        

      4 3 4 2 4 1
     
4 3 4 2 4 1 4 3 4 2 4 1


    return back through the
strings and repeat

Two Finger Focus - b,fvufacsmif;rsm;yHkpHudk*&kpdkufyg toHk;rjyKaomvufacsmif;rsm; oufawmifhoufom&dSaeygap/

wD;avhusifhaepOftwGif; fifth postion wGifb,fvufudkxm;yg?. The ascending pattern udkomjyxm;aomfvnf; descending
udkvnf;ay;xm;aom vufacsmif; rsm;twdkif;avhusifhyg/.

  4 2 4 2  
V.

   
V.
  
4 3 4 2

   
 
4 2

4 4
 
4 3 4 3 4 2 4
4 2 3 3 3

     
      
 
 
      

 3 2 3 2  
V.

   
V.

      
4 1

   
3 2


4
3 2 3 2 3 21 4 1 4 1

4 1 4 1

    
           
  

  

 2 1 2 1  
   
V.

V.

  
   
2 1 3 1
 
1 2 1 2 1 2
 
3 1 3 1 3 1 3 1 3 1

    
   
 
      
  

  

Beginner to Easy Level 10

La Clasica Classical Guitar Techinque Phoe Aung

Chromatic Scales and Variations

Chromatic scales onf b,fvufacsmif;rsm;udk aygif;pnf;&mwGif a&GUvsm;jcif;? toHqGJjcif; toHxGufaumif;apjcif;rsm;twGuf
taumif;qHk; avhusifhcef;jzpfonf/ Scales nmvufacsmif;wGJrsm;jzpfaom i-m, m-a, i-a, pojzifh omru oHk;acsmif;wGJrsm;ygoHk;jyKapvdk
onf?.

Chromatic Scale Starting on E - Three Octaves

I.

     
0 1 2 3 4 0 1 2 3 4 0 1 2 3 4 0 1 2 3 0 1 2 3 4

      
        
  
 
 
IX.
  
V.
        
V. I.

0 1 2     
        
-1 2 3 4 3 2 1
2 3 2 13 4 4
3 4 -1 4 3 2 1


 

  3 2 1 0 3   4 3 2 1 0 4 3 2 1 0 4 3 2 1 0
0 4 2 1 0

       
    
     
 

Chromatic Scale Starting on A - Two Octaves - Acending wGifwD;jyD;aomvufacsmif;rsm;udkrvTwfyJ qufvufzdxm;yg

toH&Sdefqufae&ef*&kpdkufyg/

V. IV. III. II. I. II.

       3 1 -1 2
  
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

      
    

  
 


III. IV. V.
     
VI. V.
4 3 2
  
1 4 3 4 3
       
4 3 2 1 2 1 2 1 4 3 2 1 4 3 2 1 -1


 
      
   

Beginner to Easy Level 11

La Clasica Classical Guitar Techinque Phoe Aung

Open Position Major Scales Through the Circle of Fifths

Scale wpfckjcif;pDudk avhusifhyg/ The circle of 5ths, scales tm;vHk;udkwjydKifwnf;aygif;wD;yg. metronome udktoHk;jyKyg/
Scale rsm;udk Keys csdef;wD;&mrSm ,HkjunfrI&vmrnf. The fingering udkawmh first position rSmxm;yg( jcGif;csuftaejzifh A major
udkaz:jyxm;onf) note rsm;udk &Gwfqdk&if; wD;cwfavhusifhyg/
C Major G Major

 
2 2 0 0

            
3 0 23 3
2 0 3 0 0 1 0 3 3 0 2 3



      
0 2 
      0 3 1 0 2 0 4 2 0 3 2 0
3 2 0 2 3

          
0 2 4 0 1


    
D Major

 
        
3 0 3 0 2 4 0 2 0 2 3 2 0 2 0 4 2 0

   
 
   

A Major

II.

   1 0 3 2
I.
  
4 3

1 3

     
2 0 0 2 4 0 2 4 1 2 0 2 3 0

 
     
E Major

 0 2 1 4 2 0 4 2 0 2 0  0 2 4 0 2 4 1 2

    

          
  

 4 1 2 0 2 4 0 4 2 0 2 1 4 2 1 4 2 0 4 2 0
        
2



     
 
B Major

 0  1 3 0 3 1 4
  
2 4 1 2 4 2 1 4 2 4 2

     
    


Beginner to Easy Level 12

La Clasica Classical Guitar Techinque Phoe Aung

Late Beginnner Daily Exercises

Open String Exercises with i, m, a

Preparation (Planting) in the Right Hand

Late-Beginner Routine
Length: 10-15 Minutes aeYpOf
txufrSmavhusifhcJhwhJ the beginner routine tjyifxyfxnfhxm;aom avhusifhcef;rsm;? ,ckrdwfqufay;aom finger independence and
basic slurs. udk aeUpOf Practice vkyf&ef/
• Open String Exercises No.1-35 - (No.6, 7, 8, 16) csefvSsyfxm;onf
• Open String Exercises No. 36-58
• Basic Alignment Exercises
• Chromatic Scale Starting on E
• First Position Major Scales: C, G, D, E, F, Bb
• First Position Melodic Minor Scales: A, E, D
• Basic Finger Independence
• Open String Slurs

Full Planting - Place p-i-m-a on the strings (D, G, B, E) before you play. Pluck each finger as needed. This is a
very secure way of practicing and will help with muscle memory of the string distances and the overall shape of
the hand. However, notice how full planting mutes any sustain from the previous arpeggio.

 


     
 (a)
 (a)

(m) p i m a (m) p i m a
(i) (i)
(p) (p)

Partial Planting - Plant p separately from i-m-a. This results in more sustain from one arpeggio to the next.

    
   

 (a)
 (a)
(p) p (m) i m a (p) p (m) i m a
(i) (i)

Sequential Planting - Plant each finger before it plays (one at a time). Try to plant the next finger immediately
after the previous finger plays. This results in maximum sustain from one arpeggio to the next.

    
   

 
(p) p (i) i (m) m (a) a (p) p (i) i (m) m (a) a

Beginner to Easy Level 13

La Clasica Classical Guitar Techinque Phoe Aung

16. Three Finger Cross String Exercise with a-m-i / a-i-m / m-i-a / m-a-i / i-a-m / i-m-a
Focusing on the first note of each group and 'feeling' the half note beat transfer from i to m to a will help
reduce the complexity of this pattern. Beginner and early-intermediate students may wish to skip this exercise.

           

  
        
a m i a m i a m i am i am i a m i am i am i am i am i am i am i a m i a

17. Ascending Reach Exercise with i-m / m-i / m-a / a-m / i-a / a-i
Notice how m-i / a-m / a-i all result in awkward string crossings. Rest your thumb on the 6th string.

     
   
         
i m i m i m i m i m i m i m i m

18. Descending Reach Exercise with m-i / i-m / a-m / m-a / a-i / i-a
Notice how i-m / m-a / i-a result in awkward string crossings. Rest your thumb on the 6th string.

 
      

      

 
m i m i m i m i m i m i m i m i

19. Cross String Exercise with i-m / m-i / m-a / a-m / i-a / a-i

           
  
   
 
i m i m i m i m i m i m

       
      

Beginner to Easy Level 14

 La Clasica Classical Guitar Techinque Phoe Aung

37. Arpeggio Accent with i


           
    

 
i m a p i m a p

38. Arpeggio Accent with m

  

       
    

 
m a p i m a p i

39. Arpeggio Accent with a

 
     
   

    
    

a p i m a p i m

Alternating Bass Arpeggio Patterns

Fingerings ESpfrsKd;jzifhavhusifhyg/ Exercises tm;vHk;udk free stroke jzifhavhusifhyg/ tydkavhusifhjcif;taejzifh? the accented
note toHjywf rsm;udkrest stroke jzifhwD;yg/

  
No.40

        
   
     
p i m
p m a

  
No.41


         
  
     
p m i
p a m

Beginner to Easy Level 15

 La Clasica Classical Guitar Techinque Phoe Aung


No.42
           
  
    

i m p
m a p

 
No.43


      
      
    

i p m
m p a


No.44
     
                
   
m i p
a m p


No.45

   
          
  

m p i
a p m


No.46
   
     
    

p i a


No.47

   
     
    

p a i

Beginner to Easy Level 16

 La Clasica Classical Guitar Techinque Phoe Aung


No.48
   
     
   

i a p


No.49

   
         
   

a p i

Alternating Bass Arpeggio Patterns with p, i, m, a

Play all exercises with free stroke. For extra practice, play the thumb with rest stroke and fingers with free stroke.


No.50

     
       
    
p i m a


No.51

        
    
    
p a m i


No.52

        
     
   
p i a m


No.53


            
    
p m i a

Beginner to Easy Level 17

 La Clasica Classical Guitar Techinque Phoe Aung


No.54

          
  
    
p m a i


No.55

     
       
    
p a i m

56. Accent the i finger

Repeat each pattern multiple times. You can also try alternating through the bass strings as on the previous page.

          
      
 

 
i a m p

  
i m a p

      
i p a m

     
 




i a p m i p m a i m p a

57. Accent the m finger

          
    
  

 
  
m a p i m i p a m p i a

         
  
  


  
m i a p m a i p m p a i
58. Accent the a finger

       
 

  
      
   
a p i m a m i p a m p i

         
  
   
   
a p m i a i p m a i m p

Beginner to Easy Level 18

La Clasica Classical Guitar Techinque Phoe Aung

Arpeggios - More Expansion and Contraction


No.59

    
    
 
   
  
p i m a p i m a p i m a p i m a


No.60

 
        
 
  
  
p a m i p a m i p a m i p a m i


No.61

 
        
 
 
   
p i a m p i a m p i a m p i a m


No.62

           
 
 
  
p m i a p m i a p m i a p m i a


No.63

  
          
    
p m a i p m a i p m a i p m a i


No.64

 
   
   
 
      
p a i m p a i m p a i m p a i m

Beginner to Easy Level 19

La Clasica Classical Guitar Techinque Phoe Aung

Expansion and String Spacing

ay;xm;wJh bar twGif; Loop wpfckcsif;pDoD;oefU avhusifhvdkuavhusifhEdkifygonf/. t"dutcsufuawmh nmvuf&JUvufacsmif;awGudk
MudK;ausmfwD;&wJhae&mawGrSm oufawmifhoufom&dSapzdkUyg/

No.65 loop continuously loop loop No.66

               
  
   
      
p i m a p i m a p i m a p i m a p i m a p i m a

No.67 No.68

         
  
  
       
     
p i m a p i m a p i m a p i m p i m p i m p i m

     
No.69 No.70

       
        
  
    
p i m p i m p i m p i m p m a p m a p m a p m a

 
 
No.71

  
        

p m a p m a p m a p m a

Beginner to Easy Level 20

La Clasica Classical Guitar Techinque Phoe Aung

Two-Part Open String Arpeggios

Free stroke jzifhavhusifhyg/ Extra practice, MudK;pm;Munfhyg a light rest stroke thumb ESifh free stroke fingers.

        

No.72 No.73 No.74

 
               
            
i m i m m i m i m a m a
p p p p p p

No.75 No.76 No.77

     
                
       
        
a m a m i m i m m i m i
p p p p

                          
No.78 No.79 No.80

   
      
m a m a a m a m i a i a
p p p

                              
No.81 No.82 No.83

      
m i m i i m i m a m a m
p p p

Beginner to Easy Level 21

La Clasica Classical Guitar Techinque Phoe Aung

No.84 No.85 No.86

                          
       
3

      
m a m a a i a i i m a
p p p

No.87 No.88 No.89

                                      
   
      
ma i a i m a m i
p p p

No.90 No.91

         
           
   
 
  
    
m i a i a m
p p

All-In-One Arpeggio Pattern

This exercise combines a number of patterns into one continuous arpeggio in groups of 5 notes. This is one of my
favourite exercises as it covers a lot of patterns in very little time.

No.92

  
5

             
        
 i m a m i m a m i m a m i m a m i m a m

p p p p

Beginner to Easy Level 22

La Clasica Classical Guitar Techinque Phoe Aung

F# Major - Enharmonic to Gb Major

  2 4 1 2 4 1 3 4 1 3 4 2 4 1 2 1 4 2 4 3 1 4 3 1
     
      
 
Db Major - Enharmonic to C# Major

  4 2 1 4 2 4   
       
2 4 1 3 4 1 3 1 2 1 3 4 1

  
    

Ab Major
3 
1 
  
 
4 3

       
1 1

3 1 4 4 4 1 3 4 1 3 0 3 1 2 4
   
     
Eb Major

     
1 4 2 1 3 1 0 3
 1 3 0 1

           
1 4 3 1 4 1 4


     
Bb Major

       
   
0 3 1 1 0 2
    
3 1 3 4 3 1 3 3 1 1 3 0 1 3 3
   
    
F Major


2

0 3 1 0 2 3

       
0 3 1 3 1 1 3 0 1 3 0 2 3 1

   
    
     

   
1 0
 
2 0 3 2 0

     
3 0 3 1 3 3 1 0 3 1 3 1


     
 
C Major

        
0 2 2 0 0
   
3 0 2 3 0 1 0 3 2 0 3 3



   
La Clasica Classical Guitar Techinque Phoe Aung

Open Position Melodic Minor Scales Through the Circle of Fifths

As before, practice the following as individual scales and as a continuous exercise. The fingering also corresponds
to the fret number in this exercise (except for the upper notes of A minor). Say the note names out loud.

A Minor Melodic

II. I.

    1 0 3 1 0 2 0 3
4 -3 1 3
       
1 2


0 2 3 0 2 4 0 1 3 0

  
   
 
E Minor Melodic

 0 2

  
2 0 3 2 0 2 0 0 2 3 0 2 4 1 2 4 0

   
       
     

 2 4 0 3 1 0 2 0 4 2 0 3 2 0 3 2 0

    
2 0



     
  
B Minor Melodic F# Minor Melodic

 2 4 0 2 4 1 3 0 2 0 4 2 0 4 2 
        
4 2 2 4 0 2

   
         

 4 1 3 4 1 2 0 2 4 1 2 0 3 2 0 2 1 4 2 0 4 2 0 4

         
        
C# Minor Melodic

 2 4 2
 4 1
      
2 4 1 3 1 2 0 2 1 4 2 1 4

   
      
 
G# Minor Melodic

 1 4  4 1 2 4
 
1
 31 3 
 4 2
0

1
 
3
0 4 2 00 2 4

      
  to G]

   F Double Sharp [same / enharmonic
Play the note G

Beginner to Easy Level 24

La Clasica Classical Guitar Techinque Phoe Aung

D# Minor Melodic

 3 1 4 2 1 4 2 1 4 1    
3

4 1 3 4 1 1 3 4

      
     
 C Double Sharp
[enharmonic to D]
Bb Minor Melodic - Enharmonic to A#

  2 0 3 1 4 3 1

3 2 1 4

              
1 1 3 4 1 3 0 3 3 1
  
   
F Minor Melodic

       
1

     
4 3 1 3 1 1 3 4 1 3 1 0
3 0 1 4 2 3 0 3

    
      

C Minor Melodic

       
2 1 3 1

 
0 3 1 4 3 1 4 3 1 3 1 3 0 1 3


    
       
G Minor Melodic

  
2 1

            
0 0 1 3 0 3 1 0 3 0 3 3 0 1 3 0 2 4 0

   
    
 
0 2 
      
     
2 3 1 3 3 1 4 3 1 3 2 0 3 1 0 3 1 0 3 0 3


 
   
D Minor Melodic A Minor Melodic

                
2 3 2 0 2 2

0 2 3 0 0 2 3 1 3 2 0 0 0 2 3 0 2 4 1
   

     
I.
  1 0 3 1 0 2 0 3 2 0 3 2 0 2
II.

  
      
0
0 1 3 1 3 4 -3 0

    


 

Beginner to Easy Level 25

La Clasica Classical Guitar Techinque Phoe Aung

Left Hand Independence, Stretch, & Alignment

The following exercises combine finger independence and stretches with a focus on keeping a good alignment in
the left hand. The section on scales in 3rds and octaves accomplishes very similar goals in a more traditional
musical context.

Basic Finger Independence - Place the indicated fingers on the notes marked with an X and hold for the entire
line. Do not play the notes with an X, only hold your fingers on the string at the indicated frets. Play the last three
notes of each line using the indicated finger. All exercises here are in 5th position but you can play the pattern in
other positions if you wish.

V.

 
2 3

4 1 1 1

 
    
hold down (do not play)  
V.
2
 
1 3 4 2

2

 
    
 
3
V.

 
1 2 4 3

3
 

    
 
4
V.

 
1 2 3 4 4
  

  
  

Slurs (Hammer-ons & Pull-offs)
Slurs, along with scales and arpeggios, are one of the main guitar techniques that need to be maintained regularly.
Ascending slurs (hammer-ons): Have the fingers hovering over the frets and strings so they need only to drop
down into place with a light, direct snap of the finger. Descending slurs (pull-offs): Practice as left hand rest
strokes by pulling the string down toward your feet into the string below. This should provide a clear pluck in the
left hand (which will add clarity to the slur). Once you feel comfortable with this technique you can use varied
degrees of downward snap or even just lift off a finger (which will produce a softer sound).
Ascending Slurs - Directional Snap - In this exercise, do not pluck the string with the right hand. Make the note
sound by snapping the left hand finger into the string. Keep the finger curved at each joint and have each finger
hovering over the string and fret. Practice on all six strings. This is how I teach beginners their first ascending
slurs. By not using the right hand you'll get a feel for the light and reflexive snap that is required in the left hand.
1 1 2 2 3 3 4 4
       

                 

Beginner to Easy Level 26
La Clasica Classical Guitar Techinque Phoe Aung

Descending Slurs - Directional Strumming - In this exercise, do not pluck the string with the right hand.
Strum the indicated left hand finger from the 6th string to the 1st string. This will give your left hand a sense
of the movement and direction required when playing descending slurs.

   
  
 
 
 







   



 
 
 

1 2 3 4
strum the 1st finger of strum the 2nd finger of strum the 3rd finger of strum the 4th finger of
the left hand across all the left hand across all the left hand across all the left hand across all
the strings over the 1st fret the strings over the 2nd fret the strings over the 3rd fret the strings over the 4th fret

Descending Slurs - Left Hand Pluck - In this exercise, do not pluck the string with the right hand. Place the
indicated left hand finger on the string for the notes marked with an X. The notes with an X do not sound, they
simply indicate placement of the left hand finger. Once placed, pluck the left hand finger down toward your feet
into the string below (except on the 1st string). Practice on all strings.

  
     
1 0 1 0 2 0 2 0 3 0 3 0 4 0 4 0
        

Ascending slurs (hammer-ons): Be sure to have the fingers hovering over the fret so they need only to drop down
into place with a light but direct snap of the finger.

Descending slurs (pull-offs): Practice these as left hand rest strokes by pulling the string down towards your feet
into the string below. This should provide a clear pluck in the left hand which will add clarity to the slur. Once you
feel comfortable with this technique you can use varied degrees of downward snap or even just a lifting off of the
finger, without touching the string below, which will produce a softer sound.

Open String Ascending Slurs

I've only notated the ascending pattern, descend through the strings using the same fingering. Use your right hand
thumb for the three bass strings and i-m for the top three strings

I.

    
0 1 1 0 2

  
0 1 0 1 0 1 0 1 0 0 2 0 2

0 2 0 2 0 2

    
    
    
  

   
4

   
3 0 3 3 0 0 4 4 0

 
0 3 0 3 0 3 0 0 4 0 4 0 4 0

    
    
  
  

Beginner to Easy Level 27

La Clasica Classical Guitar Techinque Phoe Aung

Open String Descending Slurs

I.
 0  
2

 
1 0
   
1 0 1 0 1 0 1 0 1 0 2 0 2 0 2 0 2 0 2 0

   
    
   
   

   
3 4

       
0 4 0 4 0 03 0 3
3 0 3 0 3
4 0 4 0 4 0 0 0

  
    
     

Beginner to Easy Level 28