Fernando Sor (b. Barcelona 1788 - d. Paris 1839)
Perhaps the greatest of all the classical period guitar personalities, Sor began study of the violin and cello before receiving a thorough education in harmony and composition at the famous monastery of Montserrat near Barcelona.
After discovering the guitar, Sor discarded his early instruments in its favor and soon reached such a high level of proficiency that he amazed all who heard him. Sor visited Madrid and received a commission to write music for both the Duchess of Alba and the Duke of Medina.
During the war with Portugal, Sor joined the Spanish Army, serving as a Captain. He was later expelled to France where he stayed until his move in 1809 to London. He had such great success in London that he decided to settle there to teach and compose; it was here that the majority of his 400 works for guitar were composed.
Sor wrote a fine Method and his compositions which include Studies, Waltzes, Minuets and Themes with variations confirm the French critic Fetis’ statement that Sor was the "Beethoven of the Guitar."
Playing Notes: These 3 studies are essentially single line and a lot of importance should be placed on the fingering for both hands especially the alternation of right hand fingering as well as a steady tempo - count the beats before attempting to play.
Playing Notes: This piece is in two distinct parts or voices, so each part must be practiced separately while either counting or saying the names of the notes.
Playing Notes: An excellent study to consolidate common fingerings in the 1st position N.B. repeat signs.
Playing Notes: Special notice should be taken of the quarter and eighth note rests - particularly in the bass. This can most easily be obtained by resting the thumb (p) on the string when necessary to dampen the note.
Playing Notes: Be sure to observe the "accidentals" (sharps, flats and naturals) and the tied notes in the bass (bars 3 & 4 and 19 & 20). Retain a legato (smooth) arpeggio.
Playing Notes: This piece is an excellent combination of chords, arpeggios and single line playing. Take particular notice of the timing changes (bar 17 triplets and bar 25 sixteenth notes). As with all pieces play strongly and count the beats in each bar.
