Fernando Sor Studies: Exploring Technique and Artistry in His Guitar Studies

Beginning studies on classical guitar can feel overwhelming. Three hundred years of pedagogy have left us with amazing composers and resources. If you’ve just picked up your first beginning classical guitar and you have the rudiments down, then a smart place to begin is with the great Fernando Sor. His method is not as effective as modern ones like Aaron Shearer’s. However, the studies he wrote are incomparable. Let’s look at the Fernando Sor studies and how to arrange a workable order to learn them.

About the Fernando Sor Studies

Fernando Sor (1778–1839) was a Spanish classical guitarist and composer known for significantly contributing to the guitar repertoire. He is often referred to as the “Beethoven of the guitar” due to his impact on the instrument’s development and his role in elevating it as a solo instrument in the early 19th century.

Sor composed a wide range of music for the guitar, including numerous studies (etudes) that have become fundamental to the training of classical guitarists. His studies are highly regarded for their musicality, technical challenges, and pedagogical value. They are essential for developing various techniques, improving finger dexterity, and honing musical expression on the guitar.

One of Sor’s most famous collections of studies is “Twenty Studies for the Guitar, Op. 29.” This set of etudes covers various technical aspects, from scales and arpeggios to slurs and rapid fingerwork. Each study targets a specific technical challenge while maintaining musical interest. Some other well-known collections of Sor’s studies include “Introduction to the Study of the Guitar, Op. 60” and “The Complete Studies for Guitar.”

Organizing the Studies

Above, I mention the two main opus numbers, 29 and 60, that students consider as Sor’s studies. However, there are six that make up the entirety of his studies. These are Op. 60, 44, 35, 31, 6, and 29. The problem when beginning to study these works is they do not always follow a didactic order for learning. Therefore, I’d like to offer Richard Savino’s recommended levels for study.

Here is the preface to his list:

The following table lists Sor’s studies in levels of increasing difficulty, with level 1 being the least and level 5 being the most difficult. The factors I considered for determining these levels were based on the following criteria: positions, density of texture, the number of voices and degree of activity, complexity of right and left hand fingering, keys and interpretive depth. While some works might not appear to be extremely difficult from a technical perspective, there might be some more sophisticated interpretive issues that need to be addressed.

As was discussed in the earlier commentary, Sor dealt with pedagogical issues for beginner and intermediate students more in opp. 60, 44, 35 and 31. Therefore, works from these collections will be found more frequently in levels I, II and III. Similarly, opp. 6 and 29, which are generally of a more advanced nature and will be found more frequently in levels III, IV and V.

Fernando Sor: The Complete Studies for Guitar (Ophee and Savino)

Richard Savino’s Levels for Fernando Sor Studies

Elementary (Level 1)

• op. 60: 1- 1
• op. 44: 1- 3
• op. 35: 1-4 op. 31: 1, 3, 1

Novice (Level II)

• op. 60: 12 – 21
• op. 44: 4- 1, 14 – 16
• op. 35: 5, 9, 13, 14, 17, 18, 2 op. 31: 2, 4- 7, 9, 13, 18, 23 ор. 6: 1, 2, 8

Intermediate (Level III)

• op. 60: 2 – 25
• op. 4 4: 12, 13, 17 – 23
• op. 35: ,6 8, 10 – 12, 15, 16, 19 – 21, 23, 24 op. 31: 8, 10, 12, 14, 17, 20- 22, 24
• op. 6: 3- 5, 9, 19

Advanced Intermediate (Level IV)

• op. 35: 7
• op. 31: 15, 16, 19 op. 6: 7, 10, 1
• ор. 29: 17, 20- 2

Advanced (Level V)

• ор. 6: 6, 12
• op. 29: 13 – 16, 18, 23, 24

Conclusion

Sor’s studies are often used by guitar students at different levels, from beginners to advanced players, to enhance their technical skills and musicianship. They provide a structured approach to building technique and are considered essential repertoire for anyone serious about mastering the classical guitar.

His music is characterized by its elegance, melodic beauty, and harmonic sophistication. Sor’s contributions to the classical guitar have left a lasting impact, and his studies continue to be a cornerstone of classical guitar education to this day. I know without these studies in my guitar playing that I would have lacked the skill needed for more advanced work.

Also, check out our other useful articles:

• Mastering the Strings: A Step-by-Step Guide How to Learn a Song on Guitar
• Unveiling Timeless Elegance: Yamaha C40 Classical Guitar Review
• A Mature Pairing: Los Vascos Cromas Cabernet Reserve with Music of Barrios by David Russell
• The Ultimate Guide to the Best Beginner Classical Guitar

Some of the links in this article may be affiliate links, which can provide compensation to me at no cost to you if you decide to purchase. You can read my affiliate disclosure in my privacy policy.

Chadwick Becks

I have two degrees in guitar performance and was privileged to study under Aaron Shearer, Tom Kikta, David Skantar, Ken Karsh, Tim Bedner, and currently Christopher Berg. Outside my editorial work on this blog, I teach full-time across many genres including classical, jazz, blues, rock, funk, and metal.