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tagapublishing.com proudly presents

Mauro Giuliani: 120 Right-Hand Studies

 

Do you remember your first guitar lesson?

Were you taught some basic chords or did you dive straight into learning your favorite songs?

No matter what style of music you were aiming to learn, there was ONE fundamental skill that you acquired in the beginning. It might have been subconsciously, but we ALL acquired it.

 

FIRST, EVERYBODY starts with RIGHT-HAND FINGER EXERCISES in order to get used to the instrument.

 

You might not see yourself as a “Classical” guitar player at all, but the reality is that you will find small fragments of right-hand fingerpicking in EVERY kind of music. Whether it be a ballad by your favorite Heavy Metal band, the intro to a famous Pop hit or the bridge section of a Rock song.

 

All “big players” had their first guitar lesson at some point in their career and they all started with learning some simple classical etudes to get the coordination of the right-hand going. We all have been there.

Same way as learning how to ride a bicycle, at some point you can do it and you just don’t even think about it anymore.

Now isn’t it ironic that most people who are not “classical” players stop right there?

 

MOST PEOPLE focus on practicing scales and chords for their left hand

MOST PEOPLE literally get lost in accumulating knowledge and technique in their left hand

 

MOST PEOPLE also spend a lot of effort and time in developing technique with a pick

 

But, there is a WHOLE NEW WORLD out there to be discovered for your right hand too.

 

Italian guitar legend Mauro Giuliani (1781-1829) presented a right-hand guitar manifesto to the world in the early 19th century, which is still a highly respected and timeless artifact in the classical world.

This testimonial is still the standard for the modern day classical guitarist’s curriculum. Mauro Giuliani’s 120 Studies for Right Hand Development continues to be an outstanding documentation and an essential part of anybody willing to redefine their right-hand finger playing.

 

TAGA Publishing presents to you Mauro Giuliani’s 120 Studies for Right Hand Development.

 

Mauro Giuliani’s famous 120 Studies for Right Hand Development has been passed down by guitarists for generations and the time has come for you to take the torch.

Again, YOU DO NOT need to be a classical guitar player in order to go through our Giuliani experience. You can obviously use these patterns over ANY chord progression, at ANY tempo and across a WIDE VARIETY of styles.

 

Imagine what you could achieve for your playing by JUST FOCUSING on your RIGHT -HAND.  Imagine the impact it would have on your playing!

 

We deliver you all of Giuliani’s 120 studies not only in high-quality video, but it is also presented to you with the newest Soundslice Technology, which really lets you dive deep into the material. The Soundslice Technology will conveniently let you slow down each of the 120 exercises, loop sections, and even see a virtual fretboard.

 

Picture yourself composing a new song or discovering a new chord and being able to add a more sparkling sounding arpeggio with your right-hand…

 

Having the skill to “decorate” any chord with your right hand and tell a whole new story by just using your fingers can open up an entirely new world and texture for your play.

 

This course will develop and also strengthen:

  • Your Thumb
  • Polyphony
  • The Compound Stroke
  • Developing Arpeggio Techniques
  • Developing Finger Independence And Speed
  • Additional Studies for your left hand as well

 

We have recorded every arpeggio study at three different speeds for you. There are also some extra harmonic variations for a handful of the arpeggios which will really get you sounding like a pro.  We encourage you to apply these harmonic variations to all studies.

The order of the original manuscript has been changed and the arpeggios are now grouped by finger patterns, rhythms, and the number of notes played.  Lastly, the complete left hand and right-hand fingerings can be found in the downloadable PDFs.

This mandatory method is not meant to be exclusive to the classical player and should be shared with every player worldwide.  If you ever thought about developing your right-hand finger coordination, this course is for you.

TAGA Publishing lets you experience a snapshot of guitar history with the best and most comprehensive collection of arpeggio formulas. 

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Course Curriculum

Group One
1.1 Study No. 2 00:00:54
1.2 Study No. 3 00:00:53
1.3 Study No. 81 00:01:11
1.4 Study No. 82 00:01:12
1.5 Study No. 1 00:00:53
Group Two
2.1 Study No. 25 00:01:35
2.2 Study No. 26 00:01:33
Group Three
3.1 Study No. 4 00:00:54
3.2 Study No. 5 00:00:55
3.3 Study No. 6 00:00:56
3.4 Study No. 7 00:00:54
3.5 Study No. 8 00:00:55
3.6 Study No. 9 00:00:54
3.7 Study No. 10 00:00:52
3.8 Study No. 16 00:00:53
3.9 Study No. 17 00:00:58
3.10 Study No. 17 alternate fingering 00:01:00
3.11 Study No. 8 harmonic variation 00:00:13
3.12 Study No. 16 harmonic variation 00:00:14
Group Four
4.1 Study No. 31 00:01:29
4.2 Study No. 32 00:01:28
4.3 Study No. 28 00:01:31
4.4 Study No. 29 00:01:29
4.5 Study No. 35 00:01:30
4.6 Study No. 35 harmonic variation 00:00:22
Group Five
5.1 Study No. 33 00:01:32
5.2 Study No. 34 00:01:30
5.3 Study No. 27 00:01:30
5.4 Study No. 30 00:01:31
5.5 Study No. 30 harmonic variation 00:00:23
Group Six
6.1 Study No. 86 00:01:11
6.2 Study No. 87 00:01:14
6.3 Study No. 88 00:01:13
6.4 Study No. 89 00:01:13
6.5 Study No. 90 00:01:14
6.6 Study No. 91 00:01:15
6.7 Study No. 92 00:01:16
6.8 Study No. 93 00:01:16
6.9 Study No. 88 harmonic variation 00:00:13
6.10 Study No. 92 harmonic variation 00:00:13
6.11 Study No. 93 harmonic variation 00:00:17
Group Seven
7.1 Study No. 83 00:01:13
7.2 Study No. 84 00:01:12
7.3 Study No. 85 00:01:12
7.4 Study No. 85 alternate fingering 00:01:12
Group Eight
8.1 Study No. 11 00:01:10
8.2 Study No. 12 00:00:54
8.3 Study No. 13 00:00:53
8.4 Study No. 14 00:00:54
8.5 Study No. 15 00:00:54
Group Nine
9.1 Study No. 51 00:00:00
9.2 Study No. 52 00:00:00
9.3 Study No. 53 00:00:00
9.4 Study No. 54 00:00:00
9.5 Study No. 55 00:00:00
9.6 Study No. 56 00:00:00
9.7 Study No. 57 00:00:00
9.8 Study No. 58 00:00:00
9.9 Study No. 59 00:00:00
9.10 Study No. 60 00:00:00
9.11 Study No. 61 00:00:00
9.12 Study No. 62 00:01:23
9.13 Study No. 63 00:01:24
9.14 Study No. 64 00:01:22
9.15 Study No. 65 00:01:23
9.16 Study No. 57 harmonic variation 00:00:22
Group Ten
10.1 Study No. 94 00:01:13
10.2 Study No. 95 00:01:14
Group Eleven
11.1 Study No. 18 00:59:00
11.2 Study No. 19 00:01:00
11.3 Study No. 20 00:01:01
11.4 Study No. 21 00:01:00
11.5 Study No. 22 00:00:58
11.6 Study No. 23 00:01:00
11.7 Study No. 24 00:00:58
11.8 Study No. 22 harmonic variation 00:00:19
Group Twelve
12.1 Study No. 66 00:01:05
12.2 Study No. 67 00:01:05
12.3 Study No. 68 00:01:07
12.4 Study No. 69 00:01:04
12.5 Study No. 70 00:01:03
12.6 Study No. 71 00:01:03
12.7 Study No. 72 00:01:04
12.8 Study No. 73 00:01:04
12.9 Study No. 74 00:01:06
12.10 Study No. 75 00:01:06
12.11 Study No. 76 00:01:05
12.12 Study No. 77 00:01:06
12.13 Study No. 78 00:01:05
12.14 Study No. 79 00:01:04
12.15 Study No. 80 00:01:04
12.16 Study No. 71 harmonic variation 00:00:17
Group Thirteen
13.1 Study No. 101 00:01:16
13.2 Study No. 102 00:01:16
13.3 Study No. 103 00:01:13
13.4 Study No. 104 00:01:14
13.5 Study No. 105 00:01:16
Group Fourteen
14.1 Study No. 112 00:01:08
14.2 Study No. 113 00:01:06
14.3 Study No. 113 alternate fingering 00:01:06
14.4 Study No. 114 00:01:04
Group Fifteen
15.1 Study No. 110 00:01:26
15.2 Study No. 109 00:01:26
15.3 Study No. 100 00:01:24
15.4 Study No. 96 00:01:24
Group Sixteen
16.1 Study No. 36 00:01:26
16.2 Study No. 37 00:01:26
16.3 Study No. 38 00:01:24
16.4 Study No. 39 00:01:27
16.5 Study No. 40 00:01:26
16.6 Study No. 41 00:01:25
16.7 Study No. 42 00:01:26
16.8 Study No. 43 00:01:26
16.9 Study No. 44 00:01:26
16.10 Study No. 45 00:01:26
16.11 Study No. 46 00:01:25
16.12 Study No. 47 00:01:21
16.13 Study No. 48 00:01:24
16.14 Study No. 49 00:01:24
16.15 Study No. 50 00:01:23
16.16 Study No. 49 harmonic variation 00:00:23
Group Seventeen
17.1 Study No. 106 00:01:14
17.2 Study No. 107 00:01:15
17.3 Study No. 108 00:01:16
17.4 Study No. 111 00:01:09
17.5 Study No. 106 harmonic variation 00:00:18
Group Eighteen
18.1 Study No. 97 00:01:14
18.2 Study No. 98 00:01:16
18.3 Study No. 99 00:01:14
Group Nineteen
19.1 Study No. 115 00:01:15
19.2 Study No. 116 00:01:14
Group Twenty
20.1 Study No. 117 00:01:16
20.2 Study No. 118 00:01:16
Group Twenty-One
21.1 Study No. 119 00:01:15
21.2 Study No. 120 00:01:14
21.3 Study No. 120 harmonic variation 00:00:19

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