All sixteen bars, taught by Ema Kapor. Let the melody sing over a soft accompaniment, hold the half barré high up the neck, and make every shift and slide smooth enough that the line never breaks.
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Track trailerWho this Track is for
This Track isn't for everyone — and that's the point. It's a focused path for one piece, one player.
You can already play — but you practice in circles, never finishing a piece
You want one real piece, learned properly, from first note to last
You're done piecing together random videos and guessing what's next
What you'll learn · the path
Each stop is one section of the piece. Open it at your instrument and everything you need is already there.
Learn the melody on its own first: on the 1st string, with the 4th finger sliding to each note and a gentle rest stroke. Then add the bass to practice the shifts up to fifth position and back, and fill in the accompaniment, soft but not inaudible.
FREE – TRY IT
The passage many guitarists find the trickiest in Lágrima. Find a half barré in the high positions that holds without pressing harder, leap from first to ninth position with the 4th finger as your guide, slide quietly on the 4th string, and close the phrase with a gentle ritardando.
FREE – TRY IT
The music turns more dramatic. Slide up to the high C in bar 9 with a full, intense sound, keep the parallel thirds in bar 10 in the background while the E rings through, stretch into seventh position for an off-beat melody, and play a hammer-on inside a full barré.
The opening idea comes back in minor. Move the hand as one unit through the shifts, slide the 4th finger up to the high D at the peak of the descending scale, then close the section as the first edition prints it, with the bass suddenly dropping out in bar 15.
There's nothing new to learn here, only the character to choose. Try three ways to play the return of the opening, connect the major and minor halves, and play Lágrima from beginning to end.
Who's guiding you
An award-winning Serbian classical guitarist with more than 40 competition prizes, including first prizes at the José Tomás festival in Spain and Forum Gitarre Wien. She studied with Hubert Käppel and Joaquín Clerch, and she teaches every step of this Track.
How Tracks work
Made to use while you play, not watch on the couch. This is the anatomy of a single Track section.
The passage marked up for exactly what matters — technical, musical, and interpretational — and synced to the demo.
Set your practice tempo and loop just the bars that need the work.
Clear, specific steps for how to isolate the passage, how to build it, and what to listen for. A structure, not a suggestion.
Always know the next thing to do — no guessing.
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