Etudes for Classical Guitar

for classical guitar solo

Welcome, guitarists to my first book of etudes! It is a monumental task in this day and age to write classical guitar etudes that offer something new. There are so many standard choices out there already that address the many technical problems that we all face. Etudes by Sor, Carcassi, Villa-Lobos and Leo Brouwer just to name a few. In these etudes, I tried to focus on some techniques that are not addressed in our standard “book” of etudes. Hopefully you and your students can find something challenging and new that will expand your technique and your musical palette. Enjoy!

-Anthony Joseph Lanman, February 29th, 2016


This etude focuses on working fast arpeggio figures; particularly the p,a,m,i – p,i,m,a pattern. It also features melodies in the bass strings, and on the same string.

commissioned by Max Hardy

This intermediate etude primarily focuses on working fast arpeggio figures, mainly p,i,m,i. It also features a myriad of secondary challenges such as melody bass, speed bursts, slurs (hammer-ons and pull-offs), and delicate interplay with natural harmonics.


This etude was inspired by “Odair’s Favorite Drill” from Scott Tennant’s “Pumping Nylon”. It takes the idea of cross-string playing to a new level, and has the guitarist approximate a harp-like or piano-with-pedal-down kind of sound. There are many challenging figures and licks in this etude for the guitarist to master. The harmonics in this etude are notated at sounding pitch, and include a string (numbers in circles) and fret (Roman numerals) indication as to where they are to be stopped.

Purchase this score from BCP Music! Etudes Score

AUDIO: Etude 1, Etude 3

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