G7th Capo – Classical Capo Review

G7th Capo – Review

G7th Performance Capo

G7th Performance Capo

Are you up for a different classical guitar capo? Since this may not be a piece of guitar gear that is on the top of your want list, once you have the opportunity to use the G7th Capo, you will wonder when you waited.

This device truly uses ingenious and improved technology that accomplishes what great capos do the best – to furnish key modifications with as little or no hassle as possible, such as changing string pitch.

The Primary Function of the Guitar Capo:


The capo is a gadget that takes the place of a barred finger across the strings, and acts as a temporary relocation of the guitar nut to shift keys on the guitar. On an acoustic guitar, the functionality of the capo spans about 10 frets on a 14-fret neck and 8 frets on a 12-fret neck.

The G7th Capo was engineered by Nick Campling from England. He is a professional product designer as well as being a very established artist in his own right. After 30 years of using sub-standard capos, Nick decided to put his design talents to work and designed a enhanced capo. The first thing that he did was to analyize the shortfalls of the currently available capos on the market.

The Design Objectives:

  • Guitar intonation shall be affected very minimally after positioning of the capo.
  • The capo should be very easy to apply and remove from the guitar neck.
  • The capo shall not damage the guitar neck during its use.
  • While being used, the capo shall not get in the way of the fretting hand.
  • A capo that is very functionally designed as well as very delightful to the eye.
  • Key modifications by capo repositioning is very simple.

As a outcome of meeting all of these design demands, Nick came up with an amazing capo that not only functioned with flawlessness, it looked notable as well. The architectural axiom of “Form Follows Function” truly applied to this contemporary piece of artwork.

There have been as many as 140 patents filed with the patent office for various capos for stringed instruments and very few of them can execute the basic functions listed above that every guitar player would wish for in the optimum capo gadget. While it may not appear like a complicated task to engineer a product that will not vary string intonation, while providing adequate clamping tension and not damaging the guitar neck – this isn’t easy.

How This Capo Functions:

This capo simply operates by using two clamping bars connected by a pivitol joint. The bottom bar gives tension to the backside of the neck and the top bar provide clamping action on the guitar fretboard. The joint of the capo consists of a wrapped spring clutch that functions much like to high-speed printer and photocoyping decoupling devices.

By using this type of clamping action it was found that the clamping action was infinitely adjustable and resulted in a far superior action as compared the the ordinary ratcheting action mechanisms commonly found on this type of capo. The mechanism of the clutch has three components, being a fixed hub, a movable hub and a spring that fits over both of them very tightly.

My Testing of The G7th Capo:

G7th Performance Capo

G7th Performance Capo

You can effortlessly use one hand to control this capo. There is a plastic tab that is operated to unloosen the tension on the capo. With some varieties, most notably the Shubb I would have to take the capo totally off to re-adjust the tension, that is not necessary with the G7th. Simply squeeze the capo onto the guitar neck to automatically restore the tension.

Dead open strings will be non-existent with this capo. Most other capos can result in dead areas or dead sounding open strings. Just make use of a bit of downward pressure on the capo and place it anywhere on the fretboard from the first to the eighth fret or higher and your guitar strings will ring loud and true.

I was concerned what the neck widths this capo was capable of spanning since I build guitars with wide necks to meet the needs of fingerstyle guitarists, repeatedly using necks as wide a 1-7/8″ at the nut. As it turned out the G7th easily spanned these wide-necked guitars.

My Recommendations of the G7th Capo:

At $59.99 list price, you can pick this capo up at a discounted price of around $40.00 or less. While this may seem like a lot of money to spend on a guitar capo, I think this capo is worth every penny. It will save you more than that in time, frustration and ease of use and you will find it to be a outstanding investment.

At $59.99 list price, you can pick this capo up at a discounted price of around $40.00 or less. While this may seem like a great deal of money to spend on a guitar capo, I think this capo is worth every penny. It will save you more than that in time, frustration and ease of use and you will find it to be a outstanding investment.

Wrapping this up, this capo will perform precisely for you, save you a bunch of time and frustration re-tuning your guitar, preserve the finish of your neck, minimally interfere with your fretting hand, and you will have a very stunning, sleek-looking product that will enhance the appearance of your guitar.

For more information on Guitar Capo recommendations see the article Our Picks of Guitar Capos.

Want to learn just how to use a guitar capo? See the Article How to Use a Guitar Capo
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Greensleeves Tab – What Child is This


Greensleeves – What Child is This:

Greensleeves Tab – What Child is This – Intermediate Version

Greensleeves is a great classical guitar piece and you will want to memorize it so you can have it in your repertoire. This is listed as an intermediate version song, but even you beginner classical students can probably master this piece. Keep in mind that the song Greensleeves and What Child is This, share the same song with the exception of one note. So just by changing the note feel free to play Greensleeves beyond the Christmas season.

This arrangement is one that I have played for a long time and first developed for Fingerstyle Acoustic Guitar and later adapted it for Classical Guitar, with which it sounds very beautiful.

Again, you will hear me on my soapbox on this all the time, but make sure you follow this lead arrangement by referring to the rhythm chords (which are indicated above the Notation Staff). Once you memorize these forms you will not only be able to retain the song much better in memory, but it will be much easier for you to play. There will be dramatically less Left Hand finger movement and you can play the song with a lot more authority.

Another thing you should work on with this arrangement, is the rhythm chords. The best way is to load up the song in Guitar Pro and have the program play the lead. Then you should try to play along with the selection. Watch it that this song is in 3/4 timing – that means 3 beats per measure and quarter notes getting one beat each.

Greensleeves Tab – What Child is This – Intermediate Version – Part 1:

Greensleeves Tab – What Child is This – Intermediate Version – Part 2:

Greensleeves Tab – What Child is This – Intermediate Version – Part 3:

Greensleeves Tab – What Child is This – Intermediate Version – Part 4:

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Greensleeves Tab – What Child is This – Intermediate Version
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The First Position

Positions are an often used term in guitar theory. As you will note there are many frets on the classical guitar. Of course these frets were placed on the fretboard for a reason.

When the guitar is played in what is known as the first or open position, the notes range from open strings up to and including the 4th fret. These notes can easily be played by the index, middle, ring and pinkie fingers, and thus each finger usually plays the corresponding fret number to the finger number. For example, in the first postion, the index or 1st finger plays the 1st fret, the middle or 2nd finger plays notes on the 2nd fret and so on.

Of course this is not an absolute, and it is intended only as a general guide which will be broken very often. This will especially be true when you finger chords or chord forms.

So in summary, the first position fingers play the following notes:

1st finger plays first fret
2nd finger plays second fret
3rd finger plays third fret
4th finger plays fourth fret.

Notes of the First Position:

Now lets look at all the notes that are available in the first position. Also refer to the diagram above which shows the same notes below on the notation staff and also on the TAB staff. The note names in the diagram are shown between the staffs and the LF fingering is indicated directly adjacent to the note head.

We will start with the lowest string or the 6th bass string and go progressively from one string to the next:

6th String:

  • Open E
  • 1st Fret F
  • 2nd Fret F#(Bb)
  • 3rd Fret G
  • 4th Fret G#(Ab)

5th String:

  • Open A
  • 1st Fret A#(Bb)
  • 2nd Fret B
  • 3rd Fret C
  • 4th Fret C#(Db)

4th String:

  • Open D
  • 1st Fret D#(Eb)
  • 2nd Fret E
  • 3rd Fret F
  • 4th Fret F#(Gb)

3th String:

  • Open G
  • 1st Fret G#(Ab)
  • 2nd Fret A
  • 3rd Fret A#(Bb)

2nd String:

  • Open B
  • 1st Fret C
  • 2nd Fret C#(Db)
  • 3rd Fret D
  • 4th Fret D#(Eb)

1st String:

  • Open E
  • 1st Fret F
  • 2nd Fret F#(Bb)
  • 3rd Fret G
  • 4th Fret G#(Ab)
  • 5th Fret A

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Sor Etude #4 – Segovia Intermediate Version


Fernando Sor (1778 – 1839):

Sor Etude #4 – Segovia Intermediate Version

This sequence of studies by Fernando Sor are high-quality pieces to contribute to your repertoire. They sound great and are transcribed very accurately to seize the spirit in which Andres Segovia performed them.

Etude #4 is an employment in right hand fingering. You will note that the RH fingers are just transcribed through the opening portion of the piece. The balance of the song is played in a very equivalent form, so once you master this fingering you should be all set for the balance of the selection.

One of the more important aspects of this piece is positioning of your LH fingers in their chord formations at the commencement of each measure, at least to the maximum extent that is possible. By placing the chord placement directly, and memorizing the chord shape, it will gain playing the balance of the measure much easier and permit the honest feeling of the piece to come through.

One of the more important aspects of this piece is positioning of your LH fingers in their chord formations at the commencement of each measure, at least to the maximum extent that is possible. By placing the chord placement directly, and memorizing the chord shape, it will gain playing the balance of the measure much easier and permit the honest feeling of the piece to come through.

Sor Etude #4 – Segovia Intermediate Version – Part 1:

Sor Etude #4 – Segovia Intermediate Version – Part 2:

Sor Etude #4 – Segovia Intermediate Version – Part 3:

Sor Etude #4 – Segovia Intermediate Version – Part 4:

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Sor Etude #4 – Segovia Intermediate Version
PDF File

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Sor Etude #4 – Segovia Intermediate Version
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Sor Etude #3 – Segovia Intermediate Version


Fernando Sor (1778 – 1839):

Sor Etude #3 – Segovia Intermediate Version

This series of etudes by Fernando Sor are high-quality pieces to contribute to your repertoire. They sound extraoridnary and are transcribed very accurately to seize the intent in which Andres Segovia performed them.

Etude #3 is an utilization in right hand fingering. You will note that the RH fingers are just transcribed through the opening portion of the piece. The remainder of the song is played in a very interchangeable nature, so once you master this fingering you should be all set for the balance of the composition.

One of the more imperative aspects of this piece is arrangement of your LH fingers in their chord formations at the commencement of each measure, at least to the utmost extent that is possible. By placing the chord position directly, and memorizing the chord pattern, it will gain playing the balance of the measure much easier and let the true feeling of the piece to come through.

In many locations you will note that the measure kicks off with a bass note that is a half note. It is vital to the sound of the piece that you let this bass note ring over the entire measure.

Sor Etude #3 – Segovia Intermediate Version – Part 1:

Sor Etude #3 – Segovia Intermediate Version – Part 2:

Download This Song Here

Interested in the original PDF file or the Guitar Pro file of this song. Download it here.

Sor Etude #3 – Segovia Intermediate Version
PDF File

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Sor Etude #3 – Segovia Intermediate Version
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Sor Etude #2 – Segovia Intermediate Version


Fernando Sor (1778 – 1839):

Sor Etude #2 – Segovia Intermediate Version

This series of studies by Fernando Sor are excellent pieces to add to your repertoire. They sound great and are transcribed very accurately to capture the spirit in which Andres Segovia performed them.

Etude #2 is an exercise in right hand fingering. You will note that the RH fingers are only transcribed through the first portion of the piece. The balance of the song is played in a very similar manner, so once you master this fingering you should be all set for the balance of the piece.

One of the more important aspects of this piece is placement of your LH fingers in their chord formations at the beginning of each measure, at least to the maximum extent that is possible. By placing the chord position immediately, and memorizing the chord form, it will make playing the remainder of the measure much easier and allow the true feeling of the piece to come through.

In many locations you will note that the measure kicks off with a base note that is a half note. It is critical to the sound of the piece that you let this bass note ring throughout the entire measure.

Sor Etude #2 – Segovia Intermediate Version – Part 1:

Sor Etude #2 – Segovia Intermediate Version – Part 2:

Download This Song Here

Interested in the original PDF file or the Guitar Pro file of this song. Download it here.

Sor Etude #2 – Segovia Intermediate Version
PDF File

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Etude #4 Fernando Sor Beginner


Fernando Sor (1778 – 1839):

Etude #4 Fernando Sor Beginner – Score

Etude #4 introduces us to the use of dotted notes. The dot is located adjacent to the note head. Here is what a dot does for for note timing. When you see a dot used in music, it means the time value of the note is increased by an additional 50% or half again as much. Some examples are:

Half Note = 2 Beats;
Dotted Half Note = 2+1 or 3 Beats;
Quarter Note = 1 Beat;
Dotted Quarter Note = 1 + 1/2 or 1-1/2 Beats;
Eighth Note = 1/2 Beat;
Dotted Note = 1/2 + 1/4 or 3/4 Beat;
Sixteenth Note = 1/4 Beat;
Dotted Sixteenth Note = 1/4 + 1/8 = 3/8 Beat;

In Etude #4 Fernando Sor Beginner we have dotted eighth notes, which receive 3/4 beats. You will note that immediately following the dotted eighth note there is a sixteenth note, which receives 1/4 beat, so used together, this totals one beat for both notes. When you play this piece you will note that these passages of dotted eighth notes have a syncopated type beat. Listen to the Guitar Pro file and you will see what I mean.

This version is based on the original composition as written by Sor. As I always will do, I have added additional right hand fingering (p-thumb, i-index, m-middle, a-ring fingers) for you to concentrate on your fingerstyle techniques. Also I have added all the correct left hand fingering, which appears directly beside each note head.

Watch your timing when you switch back and forth between the dotted eighth/sixteenth and the straight eighth notes. This can be a bit tricky for you beginning classical guitar players.

Etude #4 Fernando Sor Beginner – Part 1:

Etude #4 Fernando Sor Beginner – Part 2:

Download Etude #4 Fernando Sor Beginner Score Here

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Sor Etude #4 Fernando Sor Beginner Classical Guitar
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Etude #3 Fernando Sor Beginner


Fernando Sor (1778 – 1839):

Etude #3 Fernando Sor Beginner – Score

Continuing on with the third in the series of 20 Etudes by Fernando Sor, this Etude steps it up a couple of notches for your beginners. There are quite a few notes that are played with your right hand fingers (index and middle that is normally played with the thumb) Pay attention to the exact fingering to be able to play this piece up to proper speed. Again this is a great addition to your Classical Guitar repertoire.

Etude #3 Fernando Sor Beginner, is a really good example for beginning Classical Guitar students to master. There are quite a few quarter notes, and remember quarter notes get one beat per measure. Also you will find a fair share of eighth notes, which receive 1/2 beat or 2 eighth notes per beat.

This version is based on the original composition as written by Sor. As I always will do, I have added additional right hand fingering (p-thumb, i-index, m-middle, a-ring fingers) for you to concentrate on your fingerstyle techniques. Also I have added all the correct left hand fingering, which appears directly beside each note head.

Some additional items introduced into this Etude #3 are the use of accidentals, which in this case are sharps, indicated by the # sign in front of the note. This means you play that note one fret higher for the duration of the measure it is in, unless told otherwise.

Etude #3 Fernando Sor Beginner – Part 1:

Etude #3 Fernando Sor Beginner – Part 2:

Download Etude #3 Fernando Sor Beginner Score Here

Interested in the original PDF file or the Guitar Pro file of this song. Download it here.

Sor Etude #3 Fernando Sor Beginner Classical Guitar
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Etude #2 Fernando Sor Beginner


Fernando Sor (1778 – 1839):

Etude #2 Fernando Sor – Beginner Score

The series of 20 Etudes by Fernando Sor are the basis for a lot of classical guitarists studies. They have been used for decades as a great method for training on the guitar. One of the best aspects of these studies is that when preformed on the Classical Guitar in the proper manner, they sound wonderful and they are perfect to add to your classical repertoire.

Etude #2 is a really good example for beginning Classical Guitar students. There is not much that is a surprise, just good solid right and left hand techniques.

This version is based on the original composition as written by Sor. I have added additional right hand fingering (p-thumb, i-index, m-middle, a-ring fingers) for you to concentrate on your fingerstyle techniques. Also I have added all the correct left hand fingering, which appears directly beside each note head.

All of your Sor Etudes should be committed to memory. I will write an article to help you with memory training to give you some pointers that have helped be over the years.

Etude #2 Fernando Sor Beginner – Part 1:

Etude #2 Fernando Sor Beginner – Part 2:

Download Etude #2 Fernando Sor Beginner Here

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Etude #2 Fernando Sor Beginner
PDF File

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SEtude #2 Fernando Sor Beginner
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Etude #1 Fernando Sor Beginner


Fernando Sor (1778 – 1839):

Etude #1 Fernando Sor – Beginner Score

The series of 20 Etudes by Fernando Sor are the basis for a lot of classical guitarists studies. They have been used for decades as a great method for training on the guitar. One of the best aspects of these studies is that when preformed on the Classical Guitar in the proper manner, they sound wonderful and they are perfect to add to your classical repertoire.

Etude #1 is played at a rather leisurely pace at 90 bpm, which makes it a good initial piece for not only the advanced beginner, but for the intermediate classical guitarist as well.

This version is based on the original composition as written by Sor. It is a ‘stripped down’ version from the intermediate version you will see here and this will make it easier for the beginning guitar player to play.

Etude #1 Fernando Sor Beginner – Part 1:

Perhaps the most significant parts of this song for you to gain knowledge is preparation of the left hand fingering. Often you will see a fingering that seems very unusual, but after playing through the entire measure, you will discover the reasoning for such fingering. We are preparing you to play the upcoming notes in a more efficient manner.

Etude #1 Fernando Sor Beginner – Part 2:

Etude #1 Fernando Sor Beginner – Part 3:

Etude #1 Fernando Sor Beginner – Part 4:

Download This Song Here

Interested in the original PDF file or the Guitar Pro file of this song. Download it here.

Etude #1 Fernando Sor Beginner
PDF File

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Etude #1 Fernando Sor Beginner
Guitar Pro File

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