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Sor composed this etude as a single line of melody notes, with only a few chords to mark the end of phrases. Yet there is an implied bass melody - this is cleverly contrived by Sor by having some of the melody notes function as both upper melody and lower bass at the same time.
In this very short etude Sor introduces just a hint of a true bass line. Sor was always skillful and inventive in his translation of the 19th century Mozartean style to the idiomatic nature of the guitar.
Fernando Sor wrote this etude later in his life. It is from his Opus 60 and is # 8 of this collection of his etudes, which contains some of the simplest music he ever wrote for guitar.
Fernando Sor wrote this etude as a part of his Opus 60 and is # 9 of this collection of his etudes. At this time in his career he was a complete master of composing for the guitar.
Fernando Sor wrote this etude as a part of his Opus 35 and is # 1 of this collection of etudes. It has a masterful application of Mozartean harmonic model.
Fernando Sor wrote this Waltz in G major as Opus 51 # 1. The simplicity of technique required to play it is a reflection of the absolute mastery that Sor attained over the guitar.
Fernando Sor's Etude in E minor, opus 60 # XIV, is a deceptively simple work, yet is full of sophistication at a musical level. It features Sor as an unparalleled master of miniature compositions for the guitar at a beginning level.
Fernando Sor's Etude in Em, Opus 60 # 14, is here presented in two versions: 1. Solo guitar (0:07) 2. String trio (1:28) The string trio version is for the player to study the three-part melodic structure - upper, middle and bass.