Ernesto García de León's 20 Studies, Op. 50 is an ingenious collection thataddresses fundamental questions about how to develop and maintain guitar technique. It is designed toserve guitar teachers and students as well as performers and concert audiences. Since it explores notjust the technique of our instrument, but its musicaland expressive aspects as well, it makes daily technical work enjoyable, not tedious?even for someone only beginning to study the guitar.

For guitar teachers and students, 20 Studies canserve as a basic curriculum or it can complementother methods or other sets of studies. For performers, it provides a complete overview and tune-up ofthe guitar technique in one graded set of daily studies that can be played in less than half an hour. Thiswarm-up then provides the player delicious concertrepertoire?as the complete set, or in smaller groups,or in combinations with other music by ErnestoGarcía de León.

These musical exercises are also useful to rectify,reform or rehabilitate the guitar technique.

The materials out of which the twenty studies aredeveloped are first idiomatic patterns of the guitarand then the variety of musical styles so appealing toand characteristic of Ernesto García de León. For example, classic examples of the music of theCaribbean coastal basin in general and thecomposer's native state Veracruz in particular appearunvarnished in #12 (a rumba veracruzana) and #20(a son). The other studies blend elements of Mexicanmusic in general?songs of the revolution, nativedances, boleros, children's songs, and so forth?withelements of European classical music, Beatles, NewAge music, jazz and other musical styles, in a wayintended to appeal to the player and to the listener.

As the summary on pages 34 and 35 illustrates,the first sixteen studies explore basic formulas for theright hand. At the same time, they also address thefull range of left hand techniques?including balanceand positioning, independence of the fingers, longitudinal and transversal movements, shifts by substitution, by displacement, by jump, and by positions,barring, stretches and contractions, damping, pivoting, crossed movements, and movements with fixedfingers. The last four studies concern the slur.

Though each of the basic right- and left-hand formulas explored in the twenty studies is relativelysimple in itself, each is a building block of a solidtechnique. Mastery of the complete set of twentystudies?less than half an hour of music?integratesall the formulas and develops the technique to a levelat which an enormous range of the guitar repertoirebecomes available.

There is plenty of music sheet for classical guitar of various styles, directions and levels of difficulty. There is also enough methodical literature for all tastes. However, every year there are appearing new schools, methodical collections and exercises. That?s why the art of playing classical guitar is not standing still.

During my pedagogical activity rather often I faced the problem of searching or creating small exercises for a particular technique and solution of a particular problem. What didn?t suit me in the existing studies? First of all, the monotony of technical material (the accent only on the left hand technique of a performer, while the concentration of sound control is mostly in the right hand; a limited quantity of technical methods: arpeggios, chords, passagework technique). Secondly, it?s an amount of musical material. As a rule, the main efforts were aimed to memorize the text, which distracted from the very purpose of etudes, the work on a certain type of technical difficulties.
That is how the collection «Unusual Studies» appeared.
What is their «singularity»?
The collection is conditionally divided into several sections in the order of increasing the complexity of material, and it concludes with three «Concert Studies». They are distinguished by a more developed emotional atmosphere and rather high level of complexity and size. These studies require a certain level of preparation and can diversify a performer?s concert program. Nevertheless, they are only an addition to the basic material, which is focused primarily on the elementary and intermediate levels of training.
When it comes to the ?singularity?, focus is shifted to the right hand, with the detailed fingering of the right hand. The fingers «p» and «a» are introduced more actively, paying attention to the alignment of their sound, attack power. It is necessary to strive for full equality of all fingers of the right hand, using fingers «p» and «a» not only when playing bass and melody, but also in arpeggio, passaggio technique (in the middle of an arpeggio or passaggio).
- learning to use touches in a high contrast while playing: staccato/legato. This, in my opinion, is extremely necessary to already assimilate at the initial stage of training.
- active use of the alternation in the musical material of open and closed strings. Control over the strength of the sound of open strings, timbre ratio.
- using the high positions of the guitar?s fingerboard with open strings without excessive physical effort .
- rather small size of studies. This allows to concentrate directly on the technical difficulties, rather than on memorizing.

I hope that this collection will help you to achieve the desired result faster and more effectively, will bring not only methodical benefit, but also aesthetic pleasure.

Inspired by Toru Takemitsu and Leo Brouwer, Eight Octatonic Studies features eight short studies for classical or electric guitar. Each study explores the expressive potential of a single octatonic collection (also referred to as an octatonic scale or diminished scale).

Studies I, IV and VI feature ostinato patterns that support evocative melodies. Study II is an exercise in octatonic counterpoint and imitation. Studies III and VII feature octatonic scalar motives punctuated by dyads and seventh chords. Study V simulates a tonal context, implying the key of D flat major. Finally, Study VIII explores the intervallic relationships inherent in an octatonic collection. Includes preface, 9 pages sheet music

ISBN 9781619110601. This is an anthology of beautiful easy-to-moderate level pieces by 19th century masters of the guitar: Dionisio Aguado, Antonio Cano, Federico Cano, Matteo Carcassi, Fernando Sor, and Francisco Terrega, adapted for a modern right-hand technique that includes the little finger. German Professor of Guitar Leonhard Beck has compiled this collection with the assistance of Charles Postlewate, pioneer of the use of the right hand little finger. It shows the advantage of using the little finger in the playing of scales, chords, arpeggios, tremolos and harmonics for speed, accuracy, strength and balance. These studies make good repertoire pieces for the beginning guitarist or for the advanced guitarist who wishes to add the little finger to an already-developed right-hand technique. They are graded in three levels of Easy (7 studies), Easy-Intermediate (9 studies) and Intermediate (11 studies) for the progressive development of the right hand. An ideal companion to MB98710 - Right Hand Studies for Five Fingers: Using Chords, Arpeggios, Tremolos and Harmonics by Charles Postlewate. Standard notation only.

ISBN 9781609746797. This book is a collection of studies and exercises designed to help the student develop right-hand technique. The first sections deal with the basic skills of rest and free stroke, finger alternation, and arpeggios; developing flexibility and efficiency in right-hand movements. Later sections deal with the more advanced techniques of timbre production, pizzicato, right-hand harmonics, and tremolo. Most of the study pieces have been selected from the great body of classical guitar music. A few have been adapted from other sources such as keyboard and cello.

German - English.

NOW IN ONE VOLUME! Since their first publication in 1992 the Microstudies of Abel Carlevaro have become firmly established among the most important sets of didactic studies for the guitar from the 20th century. Composed at the suggestion of Chanterelle, these studies, twenty in all, cover practically every aspect of guitar technique. Although they constitute an essential complement to Carlevaro's theoretical works, the Escuela de Guitarraand the legendary Cuadernos, his four volume series of technical exercises, they can be used on their own. The music is of the consistent high quality and originality we have to come to expect from Carlevaro and, as with many of his works, the essence of Tango and Milonga can be felt throughout the entire collection. These short yet compact miniatures, many of which are barely a minute in duration, are arranged in a progressive order of difficulty following the same time-honoured structure as used by Fernando Sor, Leo Brouwer and others. Until now the Microstudies were available in four separate volumes published between 1992-2000. The present new revised edition in one single volume offers great value for money and will put them within easy reach of guitarists and students everywhere.

ISBN 9781619118577.

This collection of 36 solos, etudes and technique studies was written especially for the developing intermediate guitarist. A variety of musical styles and genres are presented, along with a colorful assortment of flatpicking techniques and melodies. In addition to their appealing sound and being fun to play, many of these pieces are suitable for performance in recitals or concerts. Every effort has been made to be sure that these musical selections alie well under the fingers,a and are very guitaristic or idiomatic in nature.Guitar Solos for Improving Technique is ideal as a standalone solo collection or as a technique-building text. The collection also works well as a supplement to any intermediate guitar method. Includes access to an online audio recording of each piece.

ISBN 9781609740733. Guitar Journals, is the ultimate reference guide of studies and solos in several different genres. This huge collection of scales is perfect for guitarist's everyday use. They are all covered here: major; natural, melodic and harmonic minor; diminished; whole-tone; bebop; blues; altered; pentatonic; Hungarian; Neapolitan; Japanese; Arabian; Balinese; Byzantine; and many, many more. This is a must-have for any guitarist's collection! For maximum ease of use, the scales in this book are represented in standard notation, tablature, and dots and diamonds on a fretboard illustration.- Ultimate guide of scales and perfect reference manual for everyday use.- Major; natural, melodic and harmonic minor;diminished; whole-tone; bebop; blues; altered; pentatonic; Hungarian; Neapolitan; Japanese; Arabian; Balinese; Byzantine; and many, many more.- Ideal for the student to professional musician.

ISBN 9781609743260. This collection is drawn from the Portefeuille Guitarre-Spieler series and is intended for intermediate to advanced guitarists.The works in this collection:Fantasy on themes from Don Giovanni, Op. 28Don Giovanni has long been famous among enthusiasts of fretted instruments for Mozart's sublime use of the mandolin in Don Juans' aria Deh, vieni alla finestra. Mertz himself took note of Mozart's 'mandolin serenade' for he employed as a catalyst a brief quote of the mandolin introduction in his Op. 28 for a modulatory transition based upon the theme. Mertz also included a simple arrangement of the aria as number 76 in his Kukuk, a 'musical panorama' of 136 short pieces.Martha, Op. 16Martha, oder Der Markt zu Richmond by German composer Friedrich Flotow (1812-1883) was first produced in Vienna in 1847. In the second act of Martha Flotow incorporates 'Tis the Last Rose of Summer (Qui sola, verginrosa), a traditional Irish melody to which the poet Thomas Moore wrote lyrics. It was one of the most popular songs of the nineteenth century. In addition to Beethoven, Mendelssohn, and Thalberg, guitar composers to produce works based upon the famous song include Giuliani, Ferranti, Holland, and Foden. Preceding Ah! che a voi perdoni Iddio in his Op. 16, Mertz quotes a brief passage from his Elegie.The Prophet, Op. 21Giacomo Meyerbeer was the leading composer of French grand opera during Mertz's professional career. Following studies in Italy, the German composer was chiefly active in Paris and Berlin, although he traveled Europe extensively producing his operas. Le prophete premiered in Paris in 1849 after a long delay due to casting problems. Mertz's Op. 21 was published shortly thereafter.Nabucco, Op. 62 and Rigoletto, Op. 63Giuseppe Verdi's first major triumph as an opera composer was with the biblical opera Nabucodonosor (more commonly known as Nabucco). The opera was premiered in Milan in 1842 and its subsequent revivals throughout Europe spread Verdi?s fame at an astounding rate. Consequently, Verdi was commissioned to compose 14 operas in the following decade. Among these operas was Rigoletto, first produced in Venice in 1851. Mertz frequently turned to the music of Verdi for his operatic fantasies, producing no fewer than four distinct works based on themes from Rigoletto alone.

ISBN 9781609741563. The Guitar Lessons of Julio Sagreras are among the most universally used collections of guitar music and represent a milestone in guitar didactic literature. The original six lesson books, along with the book Advanced Technique, were an immediate success on their introduction and remain so today. This edition brings together under one cover Lesson Books Four, Five, and Six as well as Sagreras's Advanced Technique volume. The studies in each book are carefully fingered and graded. They are charming, melodious and extremely effective in the classroom. They are also an ideal introduction to classical guitar playing and also to Latin American guitar music. Some of the later studies are appropriate as concert repertoire. This text is in English and Spanish, with French and German translations in an appendix at the back of the book.

ISBN 9781609740443. This collection of classic guitar studies is intended for the intermediate guitarist. As a whole, these etudes emulate the content of Carcassi's famed 25 Etudes, yet in a more contemporary harmonic and rhythmic idiom. These pieces are also distinguished in that they are not only valuable as left and right-hand technical exercises- but also as valid, pleasurable concert repertoire. The first ten etudes 11-20 focus on the use of the a finger in combination with i and m. Etudes 4,7,11,13,15, and 17 also concentrate on left-hand slurs. The final five etudes were composed as - and intended to be performed- as a set with each piece dedicated to a particular Latin American composer.

ISBN 9781610652841. Some of the best known Latin American rhythms are included in this collection carefully graded from beginner to intermediate level. For this book Mel Bay asked an expert on Latin American music, world celebrated guitarist-composer Alfonso Montes, to put together all his expertise to come up with real Latin sounding pieces keeping the technical demands within reach of beginner and intermediate players. Latinitas, besides being full of beautiful melodies and captivating rhythms, should act as an introduction for guitarist of all ages to this fascinating music. Standard notation only. New Latin American pieces for pedagogical purposesPicking studies in 7 keysNew solos in diverse Latin styles for concertsBegins study of Latin American folk and popular musical formsCarefully graded to move at a user friendly paceUnmatched in comprehensivenessIncludes access to online audio.