# Learn Guitar — Classical drills

> Interactive page: [`drills-classical.html`](drills-classical.html) · Fundamentals: [`drills.md`](drills.md)

The *pima* method — named fingers, two strokes, planted arpeggios, rest-stroke scales, slurs, and a tremolo seed. Slow, quiet, and exact.

**Technique path:** [Drills](drills.md) · [Exercises](exercises.md) · [Classical exercises](exercises-classical.md) · this page.

Why it matters even if you never play a study: this right hand can play *one* string on purpose. Folk picking, a clean intro under a singer, and every classical arpeggio use the same four letters.

Where a drill is a shape or a picking pattern, **TAB** sits next to the explanation (high e on top). How to read it: [Foundations · TAB](foundations.md).

On the HTML page, Play becomes Stop on the same button. 50–60 is a normal classical practice tempo.

**Sources (two-check):** Carcassi Op. 59 and Sor method openings (i–m, open-string arpeggios, first-position reading, ligado) · Giuliani’s 120 right-hand studies (1812, public domain) for the pattern *family* — our models, not his numbered studies · Hal Leonard Guitar Method Book 1 for the first-position C ladder · first-piece titles from the same public-domain spine (Sor, Carcassi, Giuliani, Tárrega, Bach, Petzold, and concert-hall names from Vivaldi to Wagner). Nothing here reproduces a copyrighted edition or a melody.

## Suggested order

1. Seat and right-hand shape
2. i–m alternation, then the weaker pairs
3. Free stroke, rest stroke, planting
4. Thumb on the basses, then thumb-plus-one
5. Arpeggio patterns on open strings, then over a chord
6. Independence
7. First-position reading, then rest-stroke C
8. Slurs, then the tremolo seed
9. First pieces on IMSLP — we do not print the notes
10. Concert-hall names — Vivaldi to Wagner, titles only

## Three tracks

- **Beginner** — Seat · i–m on open strings · free-stroke p–i–m–a · plant four notes. Stop when the hand tightens.
- **Intermediate** — Weaker pairs · p–i–m–i over Em and Am · C ladder named · rest-stroke C up and down · independence loop.
- **Advanced** — Full pattern family over C–G–D–E · walking bass under fingers · slurs · tremolo seed at 50. Then a first piece — Sor Op. 60 no. 1 or *Lágrima*.

## Seat and right-hand shape

Classical hold: guitar on the **left** thigh, left foot on a footstool (or a cushion), neck up about 45°. Right forearm rests on the bout; the wrist is slightly arched, knuckles roughly parallel to the strings. Thumb sits a little forward of the fingers, not tucked under them.

A collapsed wrist is the one thing you cannot skip fixing. That makes every later drill louder in the wrong fingers.

## The four finger names

| Letter | Spanish | Finger | Usual job |
|--------|---------|--------|-----------|
| **p** | pulgar | thumb | bass strings E A D |
| **i** | índice | index | G string (arpeggio) · any string (scale) |
| **m** | medio | middle | B string (arpeggio) · any string (scale) |
| **a** | anular | ring | high e (arpeggio) · melody / tremolo |

The little finger is not used. Nails optional — flesh is fine and quieter.

**Job 1 · home seats (arpeggios)** — p stays on E A D; i owns G, m owns B, a owns high e.

```
e|-0-  a
B|-0-  m
G|-0-  i
D|-0-  p
A|-0-  p
E|-0-  p
```

**Job 2 · alternation (scales)** — melody is i–m (sometimes i–m–a) on *whatever string the note is on*. The C ladder’s p-on-bass labels are seats for reading and arpeggios, not how you play a rest-stroke scale.

## Strokes and planting

**1 · Free stroke and rest stroke** — *Free* (tirando): the finger plays and clears the next string; use it for arpeggios. *Rest* (apoyando): the finger plays through and rests on the next string; louder, used for melody and scales. The HTML model plays the same open e eight times free (softer), then eight times rest (fuller).

```
e|-0-0-0-0-|   free (clears)
e|-0-0-0-0-|   rest (lands on B)
```

**2 · Plant and play** — set the finger on the string before you play it. Four planted notes on Em, then four without. Later, plant the *next* finger as the current one plays (sequential planting).

```
e|-----------0-----   a
B|--------0--------   m
G|-----0-----------   i
D|-----------------
A|-----------------
E|-0---------------   p
```

## Alternation

Never the same finger twice in a row. When a pattern turns around, the other finger takes the repeated note.

**3 · i–m on open strings** — index and middle on open e, then open B.

```
e|-0---0---0---0-|   i m i m
B|---0---0---0---0-| m i m i
```

**4 · i–m on one fretted note** — left index on B string fret 1 (C), repeat i–m–i–m.

```
e|-----------------
B|-1---1---1---1---   i m i m
G|-----------------
D|-----------------
A|-----------------
E|-----------------
```

**5 · The weaker pairs** — m–a, then i–a, then three-finger i–m–a on open e.

```
m–a          i–a          i–m–a
e|-0-0-0-0-  e|-0-0-0-0-  e|-0-0-0-0-0-0-
   m a m a      i a i a      i m a i m a
```

**6 · String crossing** — i on the higher string, m on the lower, walking toward the floor.

```
e|-0-----0-----0-
B|---0-----0-----
G|-----0-----0---
```

## Thumb

**7 · Walking p** — thumb alone on E A D A. Rest stroke with the thumb is the default for a singing bass; free stroke when the next string must ring.

```
e|-----------------
B|-----------------
G|-----------------
D|-------0-------0-   p
A|----0-------0----   p
E|-0-------0-------   p
```

**8 · Thumb plus one finger** — p–i, p–m, p–a. Same bass, one treble partner.

```
p–i              p–m              p–a
e|------------   e|------------   e|-0---0---0-   a
B|------------   B|-0---0---0-   B|------------
G|-0---0---0-   G|------------   G|------------
D|-0---0---0-   D|-0---0---0-   D|-0---0---0-
    p  i          p  m              p  a
```

## Arpeggio patterns

An arpeggio is a chord played one note at a time. These are the same right-hand family Giuliani catalogued in 1812 — our own models, not his numbered studies.

**9 · Pattern library** (HTML picker: pattern × shape)

| Pattern | Idea |
|---------|------|
| p–i–m–a | Home pattern, ascending |
| p–a–m–i | Reverse, descending treble |
| p–i–m–i | The workhorse; a stays out |
| p–i–a–i | Skips B; i is the pivot |
| p–m–a–m | Skips G; m is the pivot |
| p–i–a–m | Broken order |
| p–i–m–a–m–i | Six notes, up and back inside one bass |
| block | All four seats at once |

Shapes: open D–G–B–e, then Em, Am, C, G, D, E.

## Over a held chord

**10 · Hold the shape, move only the right hand.** Do not re-press between notes.

```
Em                    Am
e|-----------0-----   e|-----------0-----   a
B|--------0--------   B|--------1--------   m
G|-----0-----------   G|-----2-----------   i
D|-----------------   D|-----------------
A|-----------------   A|-0---------------   p
E|-0---------------   E|-----------------   p
```

The HTML page also loops Em → Am → C → G.

## Independence

**11 · Thumb against fingers** — thumb on every click, i and m on the off-beats.

```
    1 & 2 & 3 & 4 &
e|----0-------0---   m
B|--0-------0-----   i
D|-0---0---0---0-   p
```

**12 · Walking bass under an arpeggio** — p walks E A D while i–m–a stay on open G B e. Left hand can hold Em.

```
e|--------0-----------0-----------0-----   a
B|-----0-----------0-----------0--------   m
G|--0-----------0-----------0-----------   i
D|------------------------0-------------   p
A|-----------0--------------------------   p
E|-0------------------------------------   p
```

## Reading and scales

First position: index on fret 1, middle 2, ring 3, pinky 4, no shifting. The *letters* change with the job.

**13 · First-position C ladder — reading seats** — C D E F G A B C D E, named. Letters are home seats: p on the basses, i on G, m on B, a on e. Same grid as [piano's C](/piano/theory.html).

```
e|-------------------------0-
B|-----------------0--1--3---
G|-----------0--2------------
D|-----0--2--3---------------
A|--3------------------------
E|---------------------------
    C  D  E  F  G  A  B  C  D  E
    p  p  p  p  i  i  m  m  m  a
```

**14 · Named scale, seats still on** — up and back down. Say the name a beat *before* you play it.

```
down
e|-0-------------------------
B|----3--1--0----------------
G|-------------2--0----------
D|-------------------3--2--0-
A|--------------------------3
E|---------------------------
    E  D  C  B  A  G  F  E  D  C
    a  m  m  m  i  i  p  p  p  p
```

**15 · Rest-stroke C — i–m on every string** — same left-hand notes; right hand is i–m the whole way. Repeat the top E on the other finger.

```
up                         down (turnaround E is i)
    C  D  E  F  G  A  B  C  D  E     E  D  C  B  A  G  F  E  D  C
    i  m  i  m  i  m  i  m  i  m     i  m  i  m  i  m  i  m  i  m
```

**16 · First-position G, one octave** — G A B C D E F♯ G. F♯ is D-string fret 4. A minor (C’s relative) starts on open A.

```
G major
e|-----------------
B|-----------------
G|----------------0
D|---------0--2--4-
A|--0--2--3--------
E|--3--------------
    G  A  B  C  D  E  F# G
    i  m  i  m  i  m  i  m

A minor
e|-----------------
B|-----------------
G|--------------0--2
D|--------0--2--3---
A|--0--2--3---------
E|------------------
    A  B  C  D  E  F  G  A
    i  m  i  m  i  m  i  m
```

## Slurs

**17 · Hammer-on and pull-off** — two notes, one right-hand stroke.

- Ascending: play C (B fret 1) with i, hammer the left ring onto fret 3 (D).
- Descending: play D with i, pull the ring off so C sounds. The lower note must already be planted.

```
hammer              pull
e|----------------  e|----------------
B|-1h3--1h3--1h3-  B|-3p1--3p1--3p1-
    i LH               i LH
```

## Tremolo seed

**18 · p–a–m–i on one treble note** — thumb plays a bass; a, m, and i repeat the same high note. Even four notes first. Later the three fingers get faster than the thumb.

```
e|----0-0-0----0-0-0-   a m i
B|-------------------
G|-------------------
D|-0---------0-------   p
```

## Tone

Flesh only is the right starting point. Flesh plus nail: a short ramp, polished, flesh first and nail as the release. Over the soundhole is warmer; toward the bridge is brighter. If the nail clicks, it is too long or too square.

## First pieces

Beyond *pima* is two voices, not more finger letters. Open the score on [IMSLP](https://imslp.org/). We name the doors; we do not print the notes. Prefer an older public-domain edition — modern fingered guitar PDFs can still be under copyright even when the piece is not.

**How to start a piece**

1. Play only the bass (p) until it is a line, not a set of roots.
2. Play only the treble (i–m, sometimes a).
3. Together: melody a little louder than the accompaniment.
4. One phrase a day. The piece is ready when a listener can hum the top line.

- **Beginner piece** — Sor Op. 60 no. 1, then Tárrega *Lágrima*.
- **Intermediate piece** — *Romanza* (Spanish Romance), then Petzold’s Minuet in G.
- **First Bach** — Prelude BWV 999, then the Bourrée from BWV 996.

### Etudes that are already music

Stay on nos. 1–3 of one book until the melody sits above the accompaniment.

| Open | What it is | Uses from this page |
|------|------------|---------------------|
| [Sor Op. 60](https://imslp.org/wiki/Introduction_%C3%A0_l%27%C3%A9tude_de_la_guitare,_Op.60_(Sor,_Fernando)) · nos. 1–3 | 25 progressive lessons. The usual first named study. | Home seats, free stroke, planting |
| [Carcassi Op. 60](https://imslp.org/wiki/Etudes,_Op.60_(Carcassi,_Matteo)) · nos. 1–3 | 25 melodious etudes. No. 1 in C is the famous door. | p–i–m–a / p–i–m–i over a held shape |
| [Giuliani Op. 51](https://imslp.org/wiki/18_Progressive_Studies,_Op.51_(Giuliani,_Mauro)) · nos. 1–3 | 18 progressive studies. Same right-hand family as the pattern library. | Pattern family, thumb-plus-one |

### First concert miniatures

- **Tárrega — [Lágrima](https://imslp.org/wiki/L%C3%A1grima_(T%C3%A1rrega,_Francisco))** (E major, 1891–92). The door to him. Rest-stroke melody, free-stroke thumb.
- **Anonymous — [Romanza](https://imslp.org/wiki/Romanza_(Anonymous))** (Spanish Romance / *Jeux interdits*). E minor, then E major. The first piece many players finish.
- **Petzold — [Minuet in G](https://imslp.org/wiki/Minuet_in_G_major_(Pezold,_Christian))** (BWV Anh. 114, Anna Magdalena book — often sold as Bach). Keyboard original; take a guitar arrangement from the same IMSLP page.

### Then Bach

He wrote for lute, cello, violin, and keyboard — not six-string guitar. Practise the voices apart, then together.

- **[BWV 999](https://imslp.org/wiki/Prelude_in_C_minor,_BWV_999_(Bach,_Johann_Sebastian))** — lute prelude in C minor; guitarists usually play it in D minor.
- **[BWV 996](https://imslp.org/wiki/Suite_in_E_minor,_BWV_996_(Bach,_Johann_Sebastian))** — Bourrée from the Suite in E minor. Two voices; the second half is the hard half.

### Then “Mozart”

Mozart wrote almost nothing for guitar. The Classical guitar *is* minuets and waltzes by Sor, Giuliani, and Carulli. The trap is Sor’s [Variations on a Theme by Mozart, Op. 9](https://imslp.org/wiki/Introduction_and_Variations_on_a_Theme_by_Mozart,_Op.9_(Sor,_Fernando)) — a concert piece, not a first Mozart.

### Then more Tárrega

After *Lágrima*: [Adelita](https://imslp.org/wiki/Adelita_(T%C3%A1rrega,_Francisco)), then [María](https://imslp.org/wiki/Maria_(T%C3%A1rrega,_Francisco)). Later: [Capricho árabe](https://imslp.org/wiki/Capricho_%C3%A1rabe_(T%C3%A1rrega,_Francisco)), then [Recuerdos de la Alhambra](https://imslp.org/wiki/Recuerdos_de_la_Alhambra_(T%C3%A1rrega,_Francisco)) once the tremolo seed is even at a slow click.

## Concert-hall names

These composers are famous. Almost none of this was written for six-string guitar. Open the original on [IMSLP](https://imslp.org/); take a *guitar arrangement* from that work page when one exists. We name the titles; we do not print the notes. Do not start here — finish a first piece first (Sor, *Lágrima*, *Romanza*).

### Vivaldi

Violin and lute, not guitar. The lute concerto is the real guitar door; the Seasons are themes you arrange later.

| Title | On guitar |
|-------|-----------|
| *Spring* (La primavera, RV 269) from *The Four Seasons* | Later arrangement. Famous opening — do not copy a violin edition onto six strings on day one. |
| *Winter* (L’inverno, RV 297) | Later. The Largo is the singable slow movement guitarists borrow. |
| Lute / chamber concerto in D, **RV 93** | **Guitar door.** Written for lute. The Largo is the movement to finish first. |

[Spring RV 269](https://imslp.org/wiki/Violin_Concerto_in_E_major,_RV_269_(Vivaldi,_Antonio)) · [Winter RV 297](https://imslp.org/wiki/Violin_Concerto_in_F_minor,_RV_297_(Vivaldi,_Antonio)) · [RV 93](https://imslp.org/wiki/Chamber_Concerto_in_D_major,_RV_93_(Vivaldi,_Antonio))

### Handel

Keyboard and orchestra. The Sarabande is the guitar miniature; the oratorio choruses are harmony you already know (I–V) once you can hold a tune on top.

| Title | On guitar |
|-------|-----------|
| Sarabande from Suite in D minor, **HWV 437** | **Guitar door.** Slow, two voices, often arranged. Theme first, variations later. |
| *Hallelujah* from *Messiah*, HWV 56 | Chorus, not a solo. Hum the tune over G–C–D; do not print the vocal line here. |
| *Water Music*, HWV 348–350 | Orchestral suite. Airs and minuets turn into guitar arrangements after the Sarabande is honest. |

[Sarabande HWV 437](https://imslp.org/wiki/Suite_in_D_minor,_HWV_437_(Handel,_George_Frideric)) · [Messiah](https://imslp.org/wiki/Messiah,_HWV_56_(Handel,_George_Frideric)) · [Water Music](https://imslp.org/wiki/Water_Music,_HWV_348-350_(Handel,_George_Frideric))

### Haydn

Quartets and symphonies. The Emperor hymn is a slow tune over a clear bass — the same two-voice job as a first study.

| Title | On guitar |
|-------|-----------|
| String Quartet Op. 76 No. 3, second movement (*Emperor* / “Gott erhalte”) | **Guitar door.** Theme only. Variations in the quartet can wait. |
| Symphony No. 94 (*Surprise*), Andante | The quiet tune, not the orchestra hit. Arrange the theme after the Emperor hymn. |
| Trumpet Concerto in E♭, Hob. VIIe:1 — slow movement | Cantabile line. Later arrangement; keep it slower than the recordings. |

[Emperor quartet](https://imslp.org/wiki/String_Quartet_in_C_major,_Hob.III:77_(Haydn,_Joseph)) · [Surprise symphony](https://imslp.org/wiki/Symphony_No.94_in_G_major,_Hob.I:94_(Haydn,_Joseph)) · [Trumpet concerto](https://imslp.org/wiki/Trumpet_Concerto_in_E-flat_major,_Hob.VIIe:1_(Haydn,_Joseph))

### Beethoven

Piano and orchestra. *Für Elise* is the usual guitar transcription; it is still intermediate — the A-minor theme first, the middle section later.

| Title | On guitar |
|-------|-----------|
| *Für Elise*, WoO 59 | **Guitar door.** Theme in A minor. Skip the fast middle until shifts are calm. |
| *Ode to Joy* from Symphony No. 9 | A hymn tune. G–D–C–G colour — play the harmony on [three-chord](songs.md) while you learn a guitar arrangement of the melody elsewhere. |
| Piano Sonata No. 14 (*Moonlight*), first movement | Later. Triplet texture on guitar is a study of its own, not a first Beethoven. |

[Für Elise](https://imslp.org/wiki/F%C3%BCr_Elise,_WoO_59_(Beethoven,_Ludwig_van)) · [Symphony 9](https://imslp.org/wiki/Symphony_No.9,_Op.125_(Beethoven,_Ludwig_van)) · [Moonlight](https://imslp.org/wiki/Piano_Sonata_No.14,_Op.27_No.2_(Beethoven,_Ludwig_van))

### Chopin

Piano. Tárrega and others arranged the short preludes. Start with a slow one, not the Minute Waltz.

| Title | On guitar |
|-------|-----------|
| Prelude Op. 28 No. 4 (E minor) or No. 7 (A major) | **Guitar door.** Short, singing, few positions. No. 7 is the kinder of the two. |
| Nocturne Op. 9 No. 2 (E♭ major) | Famous cantabile. Intermediate-plus arrangement; ornaments last. |
| Waltz Op. 64 No. 1 (*Minute Waltz*) | Later. Speed is the joke on piano and a trap on guitar. |

[Preludes Op. 28](https://imslp.org/wiki/Preludes,_Op.28_(Chopin,_Fr%C3%A9d%C3%A9ric)) · [Nocturnes Op. 9](https://imslp.org/wiki/Nocturnes,_Op.9_(Chopin,_Fr%C3%A9d%C3%A9ric)) · [Waltzes Op. 64](https://imslp.org/wiki/Waltzes,_Op.64_(Chopin,_Fr%C3%A9d%C3%A9ric))

### Brahms

Songs and dances. The lullaby is a real first arrangement; the Hungarian dance is the famous one people rush.

| Title | On guitar |
|-------|-----------|
| *Wiegenlied* (Lullaby), Op. 49 No. 4 | **Guitar door.** Slow tune, simple bass. Melody not printed here. |
| Hungarian Dance No. 5 | Famous. Play it as a slow two-voice study first; the fiddle tempo comes last. |
| Symphony No. 3, Poco allegretto (third movement) | Later cantabile. A long line over a walking bass — independence, not speed. |

[Op. 49 (Wiegenlied)](https://imslp.org/wiki/5_Lieder,_Op.49_(Brahms,_Johannes)) · [Hungarian Dances](https://imslp.org/wiki/21_Hungarian_Dances_(Piano),_WoO_1_(Brahms,_Johannes)) · [Symphony 3](https://imslp.org/wiki/Symphony_No.3,_Op.90_(Brahms,_Johannes))

### Wagner

Opera orchestra. The wedding chorus is the honest first map (I–V); the Ride is a later transcription, not a first piece.

| Title | On guitar |
|-------|-----------|
| Bridal Chorus from *Lohengrin* (“Here comes the bride”) | **Guitar door.** Hymn-like I–V. Harmony you can hold while the tune lives in your ear. |
| Pilgrims’ Chorus from *Tannhäuser* | Slow, stepwise. A two-voice arrangement after the bridal chorus. |
| Ride of the Valkyries from *Die Walküre* | Later. Famous, loud, and a bad first Wagner. Do not start here. |

[Lohengrin](https://imslp.org/wiki/Lohengrin,_WWV_75_(Wagner,_Richard)) · [Tannhäuser](https://imslp.org/wiki/Tannh%C3%A4user,_WWV70_(Wagner,_Richard)) · [Die Walküre](https://imslp.org/wiki/Die_Walk%C3%BCre,_WWV_86B_(Wagner,_Richard))

## Practice note

**How long:** 8–12 minutes of *pima*, and stop the moment the hand tightens.

**Listen for:** equal volume between i and m (and later a).

**Common mistakes:** the thumb crossing under the fingers; the same finger twice when a pattern turns around; planting so late the next string buzzes; rest-stroke scales still using p on the basses.

After the drills: one first piece — Sor Op. 60 no. 1 or *Lágrima*. Harmony loops: [Play along · classical](songs.md).

Continue: [Folk drills](drills-folk.md) · [Resources](resources.md)