Free Course Image Fernando Sor Studies for Classical Guitar

Free online courseFernando Sor Studies for Classical Guitar

Duration of the online course: 4 hours and 57 minutes

New

Refine your classical guitar technique with a free online course on Sor studies—tone, arpeggios, slurs and musicality, plus certificate-ready practice.

In this free course, learn about

  • Purpose of Sor’s 25 Progressive Studies, Op.60 as a structured classical guitar method
  • How to sustain/voice chords to avoid “one note at a time” playing and create harmony (No.1)
  • Tone production and making simple textures sound rich through balance and sustain (No.2)
  • Core arpeggio technique development: patterns, evenness, and economical right-hand fingering (Nos.3,7–12,15,17)
  • Reading/awareness of key signatures and accidentals; flats emphasized in No.4
  • Recognizing study form and key plan (e.g., overall structure described for No.5)
  • New technical demands introduced later: shifts, slurs/legato, and expanded textures (Nos.6,12,22)
  • Interval-based moving chord technique (thirds) used to build harmony (No.13)
  • Primary musical tasks: phrasing, shaping lines, and tying sections together (Nos.14,18–20)
  • Rhythm challenges and counting solutions for difficult patterns near endings (No.16)
  • Voicing control: keeping melody/beat clear and prioritizing emphasized fingers/voices (Nos.11,19,23)
  • Handling editorial issues: consistent slur decisions and practical editing choices (No.22)
  • Texture-specific study goals, including continuous patterns and pedagogical focus (No.24)
  • Scordatura skill: 6th string tuning adjustment required for the final study (No.25)

Course Description

Build a more confident, musical classical guitar technique through Fernando Sor’s 25 Progressive Studies, Op. 60. This free online course guides you step by step through a landmark set of etudes designed to turn fundamental skills into reliable habits: clear tone, balanced voices, coordinated hands, and an expressive sense of line. Instead of rushing for speed, you’ll learn how to make simple notation sound full and elegant, avoiding the dry, one note at a time effect by shaping harmony and sustaining important voices.

Across the studies, you’ll strengthen right-hand control through arpeggio textures, accent placement, and efficient fingering choices that keep patterns flowing even when they seem to run out of fingers. The lessons emphasize practical solutions for consistency and sound quality, helping you maintain a steady beat while highlighting melody within accompaniment. You’ll also refine left-hand accuracy with chord shifts, intervals, and position awareness, improving clarity while reducing tension.

Musicianship remains central throughout. You’ll work on voicing, phrasing, and tone color so each study sounds like music rather than an exercise. As the material advances, the course supports you in handling new challenges such as varied textures, rhythmic intricacies near cadences, and interpretive decisions when markings are inconsistent. You’ll be encouraged to develop a thoughtful editing mindset and a focused practice approach that brings out the musical line.

Whether you are returning to classical guitar or looking to strengthen core technique with repertoire that has trained generations of players, this course provides a structured path through Op. 60, ending with a complete performance overview of the full set. By the end, you should feel more secure in your fundamentals and more able to project balance, harmony, and expressive direction in your playing.

Course content

  • Video class: Introduction to Fernando Sor's 25 Progressive Studies, Op.60 for Classical Guitar 09m
  • Exercise: What is described as the primary pedagogical goal of Fernando Sor’s 25 Studies, Op. 60?
  • Video class: Study No.1, Op.60 by Fernando Sor and Lesson for Classical Guitar 07m
  • Exercise: In Study No. 1 from Op. 60, what is the main advice for avoiding a "one note at a time" sound and creating harmony?
  • Video class: Study No.2, Op.60 by Fernando Sor and Lesson for Classical Guitar 07m
  • Exercise: What is the main goal for making Study No. 2 sound rich, despite its simple notation?
  • Video class: Study No.3, Op.60 by Fernando Sor and Lesson for Classical Guitar 08m
  • Exercise: What is the main technical focus of Fernando Sor Op. 60, Study No. 3 as described in the lesson?
  • Video class: Study No.4, Op.60 by Fernando Sor and Lesson for Classical Guitar 09m
  • Exercise: In Study No. 4 (Op. 60), what key signature is emphasized, and which notes are flat because of it?
  • Video class: Study No.5, Op.60 by Fernando Sor and Lesson for Classical Guitar 10m
  • Exercise: What overall form and key plan is described for Study No. 5 (Op. 60)?
  • Video class: Study No.6, Op.60 by Fernando Sor and Lesson for Classical Guitar 11m
  • Exercise: In Study No. 6 (Op. 60), what is the main new technical focus compared to the earlier studies?
  • Video class: Study No.7, Op.60 by Fernando Sor and Lesson for Classical Guitar 09m
  • Exercise: In Study No. 7 (Op. 60), what is the main right-hand fingering solution suggested when the initial arpeggio pattern “runs out of fingers”?
  • Video class: Study No.8, Op.60 by Fernando Sor and Lesson for Classical Guitar 04m
  • Exercise: What is the main technical focus of Study No. 8 from Fernando Sor’s Op. 60 in this lesson?
  • Video class: Study No.9, Op.60 by Fernando Sor and Lesson for Classical Guitar 08m
  • Exercise: How is Study No. 9 (Op. 60) mainly related to Study No. 8 in this set of etudes?
  • Video class: Study No.10, Op.60 by Fernando Sor and Lesson for Classical Guitar 10m
  • Exercise: In Sor Op. 60 No. 10, what core right-hand concept is recommended for the arpeggio texture in the opening bars?
  • Video class: Study No.11, Op.60 by Fernando Sor and Lesson for Classical Guitar 13m
  • Exercise: In Fernando Sor Study No. 11 (Op. 60), which right-hand finger should most often carry the emphasis to keep the balance and beat clear?
  • Video class: Study No.12, Op.60 by Fernando Sor and Lesson for Classical Guitar 09m
  • Exercise: What is the main technical change introduced in Study No. 12 (Op. 60) compared to earlier studies?
  • Video class: Study No.13, Op.60 by Fernando Sor and Lesson for Classical Guitar 08m
  • Exercise: In Study No. 13 (Op. 60), what interval is used throughout most of the piece to build the moving chords?
  • Video class: Study No.14, Op.60 by Fernando Sor and Lesson for Classical Guitar 09m
  • Exercise: In Fernando Sor Op. 60 No. 14, what is identified as the primary musical task while playing the study?
  • Video class: Study No.15, Op.60 by Fernando Sor and Lesson for Classical Guitar 10m
  • Exercise: In Study No. 15 (Op. 60), what right-hand technique is recommended from bar 5 as a useful skill to develop?
  • Video class: Study No.16, Op.60 by Fernando Sor and Lesson for Classical Guitar 16m
  • Exercise: In Study No. 16 (Op. 60), what are the two challenging rhythms highlighted near the end of the piece?
  • Video class: Study No.17, Op.60 by Fernando Sor and Lesson for Classical Guitar 10m
  • Exercise: What right-hand approach is recommended to simplify the fingering in Sor Op. 60 Study No. 17?
  • Video class: Study No.18, Op.60 by Fernando Sor and Lesson for Classical Guitar 15m
  • Exercise: In Study No. 18 (Op. 60), what is highlighted as a key musical focus to tie the piece together?
  • Video class: Study No.19, Op.60 by Fernando Sor and Lesson for Classical Guitar 07m
  • Exercise: In Study No. 19 (Op. 60), what is the main practice focus to bring out the musical line?
  • Video class: Study No.20, Op.60 by Fernando Sor and Lesson for Classical Guitar 11m
  • Exercise: In Sor’s Study No. 20 (Op. 60), what key is highlighted as contributing to the piece’s sound?
  • Video class: Study No.21, Op.60 by Fernando Sor and Lesson for Classical Guitar 10m
  • Exercise: What is the main technical focus of Fernando Sor Op. 60, Study No. 21 in this lesson?
  • Video class: Study No.22, Op.60 by Fernando Sor and Lesson for Classical Guitar 14m
  • Exercise: When dealing with inconsistent slur markings in Study No. 22, what editing approach is used for bars 17–24?
  • Video class: Study No.23, Op.60 by Fernando Sor and Lesson for Classical Guitar 11m
  • Exercise: In Study No. 23 (Op. 60), what is the primary performance goal regarding voicing?
  • Video class: Study No.24, Op.60 by Fernando Sor and Lesson for Classical Guitar 10m
  • Exercise: In Sor’s Op. 60 Study No. 24, what is the main technical texture and pedagogical focus emphasized throughout the piece?
  • Video class: Study No.25, Op.60 by Fernando Sor and Lesson for Classical Guitar 10m
  • Exercise: In Study No. 25 (Op. 60), what tuning adjustment is required for the 6th string?
  • Video class: Complete Sor Studies, Op.60 No.1-25 by Fernando Sor for Classical Guitar 30m

This free course includes:

4 hours and 57 minutes of online video course

Digital certificate of course completion (Free)

Exercises to train your knowledge

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