Our decision to suspend publication of Classical Guitar<\/em> in print was not taken lightly. We recognize that it has served as the voice of the classical guitar community, \u00adfirst from its home in Newcastle-upon-Tyne, England, for 32 years, and more recently as a revamped and reimagined ex-pat in California.<\/p>\n In response to the digital media revolution, Stringletter Media\u2014a small, specialist, family-run business\u2014is making the same shifts, adjustments, and pivots as the largest media companies in the world. One such adjustment entails devoting our limited resources to strengthening our best-performing print magazine. In our case that\u2019s Acoustic Guitar<\/em><\/a>, and we sincerely believe that our ability to serve classical and nylon-string guitarists like you well into the future rests in serving all guitarists with one print magazine while continuing to specialize online.<\/p>\n If you now subscribe to the quarterly Classical Guitar<\/em>, you will automatically receive the bimonthly Acoustic Guitar<\/em>, starting with the issue dated January\/February 2020, for the calendar duration of your subscription (e.g, if you expect three more quarterly issues before your current term runs out, you\u2019ll receive \u00adfive instead). If you don\u2019t already read Acoustic Guitar<\/em>, you can expect literate, diverse coverage of the musicians, techniques, and repertoire of both the steel-string and nylon-string worlds. In the works for your \u00adfirst issue, for example, are a lesson on Carulli with Michael Chapdelaine, a pro\u00adfile of Jason Vieaux, a composition from a recent classical-guitar recording, and a review of Yamaha\u2019s nylon-string Transacoustic guitar\u2014along with a talk with Roger Bucknall of Fylde Guitars, a lesson with Molly Tuttle, a family tree of British fingerstyle guitar, and much more.<\/p>\n
![\"\"](\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2019\/09\/dal.png?resize=287%2C277&ssl=1\")
<\/p>\n