The study and interpretation of ‘fixed music’ remains the predominant mode of practice for most classical guitarists. Despite this, an emerging body of literature highlighting the historical significance of improvisation in guiding developments in performance practice and composition beckons a reinterpretation of prior methods and practices and offers conceptual guidance for a contemporary re-imagining of this neglected art form. In building on this research, I have examined the process, methodology and practice of solo guitar improvisation and outlined a personal method developed from an amalgam of experimental and historically informed practices. In conceptualizing my approach I have reengaged with the classical guitars performative lineage, examining methods and practices whose origins date back to the seventeenth-century Spanish Baroque guitar methods of Francisco Corbetta, Gaspar Sanz and Santiago de...