1. Etude - Op. 60 - No. 1 - Matteo Carcassi
2. Etude - Op. 60 - No. 2 - Matteo Carcassi
3. Etude - Op. 60 - No. 3 - Matteo Carcassi
4. Etude - Op. 60 - No. 6 - Matteo Carcassi
5. Etude - Op. 60 - No. 7 - Matteo Carcassi
6. Etude - Op. 60 - No. 19 - Matteo Carcassi
7. Estudio - Op. 6 - No. 1 - Fernando Sor
8. Estudio - Op. 31 - No. 20 - Fernando Sor
9. Valzer - Op. 32 - No. 2 - Fernando Sor
10. Estudio - Op. 35 - No. 17 - Fernando Sor
11. Estudio - Op. 35 - No. 22 - Fernando Sor
12. Estudio - Op. 38 - No. 1 - Napoleon Coste
Throughout musical history, studies (etudes) have been written for all instruments, purely as a musical form and to ensure that the instruments expressive potential is reached. The guitar is no exception to this practice and like all musical instruments it requires particular kinds of compositional approaches to satisfy this goal. In part, it is unique in that it possesses an astonishing range of sonic subtleties. It can produce the warm tones of the low frequencies, a variety of soaring colors from the higher end of the tonal spectrum, lilting melodies with tiny voice like vibratos and even percussive effects. Added to all this is its polyphonic capability. The utilization of this wealth of highly expressive and interpretive possibilities requires a well developed technical facility.
Many of the great masters who possessed this facility on our intimate and versatile instrument, came from the 19th century. Often called the golden age of the classical guitar, the 19th century produced works by Fernando Sor, Dionisio Aguado, Mauro Giuliani, Matteo Carcassi, Napoleon Coste, Luigi Legnani, and Fernando Carulli. All were virtuoso players and accomplished composers with a very clear idea of the technical prowess needed to play the styles of their day. Each of them produced an abundance of etudes and short works designed specifically to isolate technical hurdles into concentrated studies. These pieces, that are so pleasing to listen to, create a compelling link to the specific musical mannerisms of guitar's golden age, and serve as a strong foundation for the study of classical guitar even today.
From the list of artists above I've chosen twelve studies by Fernando Sor, Matteo Carcassi and Napoleon Coste. Outstanding musical gems, that since their time, have been used by countless guitarists in their quest for mastery. The path to technical and interpretive perfection can be long and arduous. The saving grace is that we get to hear the beauty of the guitar along the way and this keeps us ever inspired. I
hope this edition of technical, but nonetheless very musical, studies will help guitarists everywhere along this journey.
About the Author
While still a student at California State University at Northridge, Jeffrey Cogan, M.A., was honored by being invited to perform for the great Spanish Maestro of the guitar, Andres Segovia. Segovia subsequently invited Mr. Cogan to Geneva for further studies. After finishing his studies he built a career in performing and teaching the guitar at CSUN and at Chapman University.
Since then Mr. Cogan has performed around the USA and Europe. In 1998, Cogan was invited to Perigueux, France, to perform and teach at the Ecole Brittain with the acclaimed French guitarist Olivier Chassain. In 1999, Mr. Cogan performed works as diverse as the lute part of the St. John Passion with the William Hall Master Chorale and the contemporary jazz guitar in Fred Katz's Concerto for Buddy at the West Coast Jazz II festival in Newport Beach. California. During the spring and summer of 2004, Mr Cogan was invited to adjudicate different competitions in Austria and France. He was also a featured performer in the Fabritio Caroso guitar festival in Lanuvio, Italy. In the summer of 2005 Mr. Cogan performed a concert for the VIII Festival De Musica De Guitarra, "Villa de Aranda" in Aranda de Duero, Spain.
Jeff Cogan has directed the Guitar Foundation of America international guitar competition since 1987. During that time the competition has become one of the most prestigious events of its kind. This annual competition has been held in 20 different locations since 1983 including New Orleans, Charleston, Montreal, Merida and Quebec City. He is also the program director for the Orange County Guitar Circle. Mr. Cogan's work in the school of music at Chapman University has won praise for him and his students alike. He is director of guitar studies and music technology as well as frequent performer in many of the school of music concerts.
PREVIEW Estudio Op. 38 No 1 Coste
PREVIEW Estudio Op. 35 No 22 Sor
PREVIEW Etude Op. 60 No 19
