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.

ISBN 9781609742546. Here is a book for guitar students who wish to develop their instrumental capabilities to the point of mastery. This book, while not a method, is an attempt to help students internalize the most important aspects of practicing and performing music: Mechanism, the set of acquired reflexes that makes playing the guitar possible; Technique, the procedures to follow in order to master a given passage or overcome a given difficulty; and Learning a Mechanism or Technique, the process of acquiring a reflex or of mastering a passage or overcoming a specific difficulty. The exercises strive to ingrain proper techniques and mechanisms both physically and mentally, making the interpretation of music as natural to the guitarist as walking. The author encourages the student to conquer musical difficulties through critical and intelligent analysis rather than mere repetition. These techniques are intended to return the indispensable feeling of creative playing to musical work, having freed the student from consciously focusing on the physical aspects of playing. Musical examples are in standard notation only.

Landscape I is a contemporary piece for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the standard guitar edition with tuning D A D G B E. (Originally written for 10 strings classical guitar F# G# A# D E A D G B E, also available).

Written in a modern language, it's time signature is 6/4 without a key signature indication. The piece explores chords and textures in combination with single notes passages, creating layers of sound.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

Performance suggestion: This music could be performed with an additional media, like a video animation, a painting, a short film or live presentation, if possible.

Landscape I is a contemporary piece for guitar written by Argentine-born American composer Pablo Emiliano Fedele.

This is the 10 strings classical guitar F# G# A# D E A D G B E (Standard guitar edition with tuning D A D G B E, also available).

Written in a modern language, it's time signature is 6/4 without a key signature indication. The piece explores chords and textures in combination with single notes passages, creating layers of sound.

The piece was written for an intermediate and advanced level. This edition contains a suggested fingering and positions to create the sound the composer believes is the essence of the piece. Students, teachers and artists are welcome to visit Pablo Fedele's website and social media to get in contact and ask all the questions about practice and performance of the piece.

ISBN 9781610656566. Eleven original compositions for the classical guitar composed in the eclectic style for which Frederic Hand has become well known. Written in standard notation only, some of these pieces allow for optional improvisatory sections (About Time and Missing Her). The composer performs all of the compositions on an accompanying recording. Some pieces require retuning the sixth string to low D. The level of difficulty ranges from easy to difficult, with the majority of the material falling at the intermediate level. Program notes are included for each piece. The audio download available online presents performances of all the pieces by the composer.