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100 Graded Classical Guitar Studies Paperback – January 1, 1992

4.4 out of 5 stars 39 customer reviews

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Product Details

  • Series: Classical Guitar
  • Paperback: 178 pages
  • Publisher: Music Sales America (January 1, 1992)
  • Language: English
  • ISBN-10: 0711906122
  • ISBN-13: 978-0711906129
  • Product Dimensions: 9 x 0.4 x 12 inches
  • Shipping Weight: 1.3 pounds (View shipping rates and policies)
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (39 customer reviews)
  • Amazon Best Sellers Rank: #216,469 in Books (See Top 100 in Books)

Customer Reviews

Top Customer Reviews

Format: Paperback
This is a collection of studies for the ages. Not only is each one slightly more challenging than the last, encouraging a sequential skill-building approach, but almost every one except for the first few is musically great, a true performance piece.
The fingering indications are left as the original composer intended. Noad has done a masterful job selecting and organizing these 100 studies from the vast number out there. Carcassi's great 25 studies are all here. Sor's "20 Segovia" studies are here (save one or two), much more by Sor, and some great pieces by Guiliani. I have literally scores of books of studies and this is the only one I ever feel like using. Unless you are near virtuoso or a complete beginner, this book will fit the bill as no other. It's the definitive desert island classical guitar book. (Requires music reading ability, No TAB).
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Format: Paperback
If you are going to have one classical guitar book, this may be it. The studies in this book are the "classics" that countless guitarists trained on (incluiding Segovia). After a few relatively easy studies, the book shifts into intermediate to advanced level work very quickly. Not a viable alternative for the first or even second year guitarist, but for the advancing guitarist, this book alone would provide years of developmental skill building as well as great music for the performance repertoire. It is sequential (graded). Contains all of Carcassi's and Sor's great studies, plus a sampling of Guiliani's-- graded from simple to advanced with 75% at the high intermediate level.
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By A Customer on June 3, 2004
Format: Paperback
This book is for people who play classical guitar well enough to be able to read the music and understand right hand technique. It is not an instruction book. Rather it is a collection of pieces written by three of the giants among composers in the classical guitar world. These studies are musically excellent and develop skills very well. Some commentators have mentioned that you need a teacher--I agree, but this book is not about instruction. It's simply a collection of music, music thqat when played develops specific skills (that's the purpose of an etude, or study). Some people have criticized the book for not including right hand fingerings. The book is given as these 19th century composers wrote the music. Nothing is added. I guess I'm a little irked when people want to criticize something for being something other than what they wish--like criticizing a milk cow for not being a sow. This is simply a great collection of studies.
This is for classical guitar players and is invaluable--the best collection I've seen. I've used it for supplemental music for my students for 8 years and it is the best skill building/musical collection out there.
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Format: Paperback
Frederick Noad has done an excellent job of reviewing the studies/exercises available for classical guitarists and selecting this set of 100 from the studies published by Fernando Sor, Mauro Giuliani, and Matteo Carcassi. The studies are arranged in a progressively more difficult order, and Noad includes his comments on each as to what skills it seeks to develop, etc.
While I feel that the book deserves five stars, it is not without problems, specifically:
1. It is extraordinarily difficult to keep the book
open to the desired pages when it is on a music
stand; spiral-binding would have solved this. This
may seem like nit-picking, but it's an important
shortcoming given the purpose of the book.
2. Right-hand fingerings are given for only a few of
the pieces; in many cases, choice of the proper
right-hand pattern can make a huge difference in
the ease of performing a piece.
3. While Noad gives full left-hand fingerings, he
does not give diagrams of hand-positions to adopt
for a passage, with fingers in place for the next
few notes.
Even taking these into account, however, it remains, in my opinion, the best book of exercises available to any but the most advanced classical guitarist.
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Format: Paperback
I've had this book for nearly a year now and I still love to pull it out and learn a new piece. It's hard to keep it open on the music stand without using wooden clothes pins but I usually make a copy of the piece I'm studying so I can write in my own notes. I like that Mr. Noad gives a little helpful information at the beginning of piece, but I would have liked even more information. A couple of my favorite pieces I enjoy playing are:
"Study 63: M. Giuliani Op. 51 No. 15" - simple looking at first glance, but has some nice left-hand technical challenges and sounds wonderful, and "Study 26: M. Carcassi Op. 60 No.1" - a lovely scale study which is very, very musical and fun to play. This book is loaded with fantastic music from three of the greatest guitarists, teachers and composers who ever lived. I will never have time to get to every piece, but luckily I can play those I love the most.

If you are weak in understanding musical notation you will most likely become frustrated with most of the material in this book. This is for serious classical guitarists and students of guitar who truly want to improve their playing ability. These pieces are called "studies" for a very good reason - their purpose is to teach various technical skills while learning the piece. I teach classical guitar and will pull out one of these studies for my more advanced students. I really love this book and it is one of the best I have. Good left hand fingering suggestions are given although I will sometimes change them to suit my needs, but usually they are right on. I always have to write in the right hand fingerings for my students (and myself sometimes) which is something I think Mr. Noad could have already done in some circumstances.
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