Is this site going to disappear into the dessert like a horse with no name? ==== I've been through the desert; On a horse with no name; It felt good to be out of the rain; In the desert, you can't remember your name; 'Cause there ain't no one for to give you no pain;

Here are a variety (okay, limited) of Spanish virtuosi. The way that they hold their guitar differs, but two players here (Pepe Romero, Narciso Yepes) have visibly different and lower neck angles than the rest. When I've tried the "Pepe/Yepes" stance, it doesn't work well for me. Yet certainly both of these players are at the top of any reasonable list of virtuoso CG players. Can someone help explain the benefits of the lower-angled position?

Anyone own or have any views on this guitar please.

I don't want to start a debate about which one is best 😅, just know what you find most suitable for your playing style and sound, can be both, but not for the poll!

I've spent the past several months working up (and doing seven performances of) "The Spanish Programme". Now it's time to move on to other pieces. Rather than tackling all-new material, I'm revisiting music I once had memorized but had set aside for one reason or another. Most often, because I was (a) tired of playing it and (b) more tired of playing it not-very-cleanly. LH accuracy has been a bugaboo for me for as long as I recall. Micro-rattles and buzzes, LH fingers not landing at precisely the same point every go-around. I truly do not understand how Pro Competition winners can manage this, repeatedly. The live on a different plane of existence. On the list now: HVL: Preludes & Choro Barrios: Estudio inconcluso, Minuet in C, Medallon antiguo, Gavota al estilo antigua Milan: Pavanas 2 & 3 Segovia/Tarrega: various transcriptions of Gluck, Schumann, Grieg, Franck, Handel, Bach, and yes -- Leyenda. Which I promise not to inflict on anyone here! And which I also refuse to call Asturias, which is a publisher's title never used by Albeniz.