Full Lesson on the Carulli Andante, op. 241 no. 5 for Classical Guitar

In this video, I give a full lesson on Ferdinando Carulli’s Andante, Opus 241 Number 5. The Carulli Andante is a staple piece for students of classical guitar all over the world. This extended (over an hour!) lesson explores the structure, phrasing, and technical challenges of this classic piece.

This piece is often times thought of as a early level piece. However, I have come to really appreciate smaller pieces for exploring advanced musical concepts. I also thought it might be interesting to some people to see how I approach music, from start to finish.

It may be worth noting that I did not prepare specifically for this video. While I am familiar with the piece, and have taught it in the past, most everything I present here is an exploration and an example of my usual process. If I were to do it over, some things would probably be different. But the basic concepts are sound. (As a teacher of mine likes to say, “Those of us with minds are apt to change them.”

Different breeds

Many of the concepts you’ll see in this video may be new to you, or directly conflict other things you have learned. I encourage you to enter with an open mind, and know that my views on many musical performance issues are not exactly mainstream. If you have a way of doing things that you like and are attached to, then by all means, do it your way.

Many of the ideas expressed in this video are derived from an old piano tradition. My musical coach of several years is a world-renowned concert pianist. While I did not invent much of this (if any), I have adapted it for the classical guitar.

More on the subject

I have videos and articles on some of the concepts used in this video. Here are links to those articles that may serve as a foundation or reference.

Hi, I’m Allen Mathews.

I started as a folk guitarist, then fell in love with classical guitar in my 20’s. Despite a lot of practice and schooling, I still couldn’t get my music to flow well. I struggled with excess tension. My music sounded forced. And my hands and body were often sore. I got frustrated, and couldn’t see the way forward. Then, over the next decade, I studied with two other stellar teachers – one focused on the technical movements, and one on the musical (he was a concert pianist). In time, I came to discover a new set of formulas and movements. These brought new life and vitality to my practice. Now I help guitarists find more comfort and flow in their music, so they play more beautifully.
Click here for a sample formula.

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