I’ve recently got my hands on his “School of Guitar” book, and am a bit intrigued by his approach to rest strokes; namely, Carlevaro labels the. I studied under Maestro Abel Carlevaro in Montevideo, Uruguay from to . many years I have been studying guitar is Abel Carlevaro’s “School of Guitar”. The guitar world saw Agustin Barrios MangorĂ© and Abel Carlevaro shaping His whole school is based on allowing the mind to process every movement on.

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It’s out of print and no one has any in stock. Good luck and let me know if I can be any assistance. Appologies if the origianl translator abeo reading this, but I “call ’em like I see ’em” and there are real idiomatic issues.

I now use this approach on my students; Schopl show them and explain the proper RH and LH movements and explain why and help them find their own technique. Of course, this is after there is a substantial amount of technique in place in order to guide the student. Oh, BTW Cincy2, I’m afraid I can’t help you find a copy of the English version, but if you are able to read Spanish at all it will be well worth the effort, particularly since the Abep translation is guuitar poor.

My general impression was that the abfl stroke is not “forbidden”, but that it was so over used by the older schools that a re-examination of its relevance was in order.


Does anyone know where I can purchase a copy of the English version of this method? BernieD – you and I are the rare few here I believe that give Renato a thumbs up. The books are published by Barry Editorial. I think it’s a great work to study bit by bit and use as a periodic reference. He was a student of Carlevaro for quite some time cwrlevaro convinced me to partake in exploring the technique. Carlevaro states that “there may be leaning against a string as a consequence of a particular force.

Forum guitare classique – Forum chitarra classica – Foro guitarra clasica – Free sheet music for classical guitar – Delcamp.

Classical Guitar

He would also argue that free stroke allows for more dexterity and speed. This School of Guitar is easily the most in-depth method book I’ve seen. Some of the “toques” may be with the large finger joint, the wrist, forearm, all by use of “Fijacion.

His left-hand technique feels real light, Renaissance music sounds great that way. An easy example is when you use a bar and allow the arm to assist in the bar instead of squeezing with your thumb muscle which is small and tires easily. Among other reasons, he tought rest stroke would 1 produce more noise and 2 dampen strings which sometimes ought to sound freely.

I think one’s head might explode however if reading it in one sitting were attempted. I’ve been searching the world via the internet for a copy of Carlevaro’s “School of Guitar”. Belucci hold’s him and his methods as the very best of techniques to fully develope the mastering of the CG. I remember a bit of the Carlevaro approach, but had a teacher change early on and my second teacher put me on to other folks. Classical Guitar Skip to content. What Carlevaro talks about are different “toques” using various different muscle groups in order to put more force onto the string which you are setting into motion.


Books by Abel Carlevaro (Author of School Of Guitar)

He claimed that, with practice, one should be able to produce the same tone s without using rest stroke. All the best, Rick.

I’ve learned an incredible amount from him. Even called the publisher Boosey and Hawkes but haven’t heard from carlevaaro either. I’ve exhausted the Google searches. What I specially like in Carlevaro’s technique is his attention to the clean execution of music, without noise, his toughtful approach to fingering and to position shifting.

A wood box, empty A sensitive heart, too full You and I connect. Our website is made possible by displaying online advertisements to our visitors.

It looks so small but it is so jammed pack with wisdom. Since over use of anything can be thought of as a vice, it might be fair to have referred to the rest stroke as such. The student needs to understand proper left hand movements for extensions, distensions, longitudinal and transversal movements.