Napoleon Coste (1806 - 1883)
Born in Daubs in 1806, Coste began his study of the guitar at the age of six and by eighteen was teaching in Valencienne. He moved to Paris in 1830 where he was highly praised as a concert artist and teacher by the musical press and his friends Sor, Carulli, Aguado and Carcassi.
The breaking of his arm, and consequent loss of technical ability in 1840 led to his concentration on composition and the publication of his works.
He lived primarily in Paris until his death in 1883.
Playing Notes: These 3 pieces are good examples of two part writing and each voice should be practiced separately. Note the use of the open G or 3rd string as a continuous "pedal" which holds the pieces together harmonically. This is a very common technique used by guitar composers of the classical period.
Playing Notes: the new key of A minor is very well suited to the guitar as it uses the chords of Am, Dm and E7, all of which have bass notes on an open string (Am %, Dm $ and E7 ^ ). Be very aware of the G sharps and make sure to play the chords "together" in Study 16.
Playing Notes: This arpeggio study can be played using a variety of right hand combinations for example, p m a m, p i a i, or by changing the orders of the notes p m i m, p a m a, etc.
Playing Notes: As in most of the following pieces, Studies 18 & 19 "modulate"into the relative major key before returning to the minor - in this case Am, C, Am. This change to the relative major gives a temporary "happy" feel to the otherwise somber minor mood.
Playing Notes: Study no. 20 is in the style of the Italian "Siciliana" and should be played with a lilting rhythm. It has many interesting features, not the least of which are the many accidentals (sharps, flats and naturals). Remember that an accidental only applies to the bar in which it occurs therefore the Bb accidental in bar 10 is automatically returned to B@ in bar 12.
Playing Notes: Two excellent arpeggio studies which should be practiced strongly and evenly with careful attention to fingering. As in Study 17, Study 22 can use different right hand combinations.
Playing Notes: Keep a steady rhythm and be sure to use the fingering as indicated.
Playing Notes: This study has many timing changes so count through before attempting to play. At "Fine" it changes key to the relative major, C, and at the sign V returns to the minor key to finish.
Playing Notes: As its title indicates, this study has a rather agitated feel caused by the *"syncopated" rhythm. Be sure to obey the "ties" at the end of bars 8 & 42.
*Refer to Progressive Classical Guitar for more information.
Playing Notes: This beautiful piece must be played majestically and with special attention to the dotted eighth notes, i.e., bar 2.
Playing Notes: In the new key of G major, all F notes are played as F sharps as indicated by the "key signature". In Study 27, be sure to play the notes on the correct strings as indicated by the number in a circle, i.e., # means to play the note on the 3rd string.
