Sergio Assad 24 Studies //free\\

are the antidote. They force the guitarist to become a musician first and a technician second. They demand that you listen to Pixinguinha, to Tom Jobim, to Hermeto Pascoal. They are a masterclass in rhythm, harmony, and the unique sonority of nylon strings. sergio assad 24 studies

are not just exercises; they are a university degree in Brazilian guitar in one volume. Whether you are a conservatory student or a weekend warrior looking to break free from Eurocentric pedagogy, these 24 pieces will change the way you hear the guitar. If you are stuck in a rut—playing the

For classical and fingerstyle guitarists, the quest for the perfect etude book is a lifelong journey. We have the foundational works of Fernando Sor (Op. 60), the lyrical precision of Matteo Carcassi (Op. 60), and the revolutionary modernism of Heitor Villa-Lobos (W235). For decades, these three pillars defined technical study. You will emerge not just a faster guitarist,

Born in Rio de Janeiro in 1952, Assad is one half of the legendary Sérgio & Odair Assad Duo. Unlike many academic composers, Assad grew up steeped in the choro , samba , and bossa nova of Brazil. He realized that most traditional guitar studies taught the instrument as if it were a European piano—linear, harmonic, and rigid.

The keys are not random. Assad arranges them in ascending 5ths (C, G, D, A, E...), allowing the guitarist to gradually shift their hand position around the fretboard systematically. Breaking Down the Core Techniques What makes Sergio Assad’s 24 Studies unique is how they address the "blind spots" of traditional pedagogy. 1. The Independence of the Thumb (Study No. 4 & No. 12) Classical guitar usually keeps the thumb ( p ) on the bass strings. Assad frequently demands that the thumb play melodic lines on the treble strings while the fingers ( i, m, a ) play bass counterpoint. This "upside-down" technique is essential for playing modern Brazilian music. 2. Asymmetrical Rhythms (Study No. 7 & No. 18) Forget 4/4. Assad forces you into 7/8, 5/8, and 11/16. Study No. 7 (A Major) feels like a fast frevo from Recife. You cannot play it mechanically; you must feel the internal accent grouping (e.g., 2+2+3). 3. Harmonics as Melody (Study No. 15) While Villa-Lobos used harmonics for color, Assad uses natural and artificial harmonics to play the entire melody . You must learn to produce crystal-clear harmonic tones at high speed—a nightmare for recording, but stunning for live performance. 4. The "Dissonant" Resolution Traditional studies always resolve to a sweet, consonant chord. Assad loves the major 7th with a flattened 9th —the sound of modern jazz and choro sadness. These studies train your ear to love tension, not just tolerate it. Study No. 1: The Gateway Drug Let’s look closely at the opening Study in C Major. On paper, it looks like a simple scale study. But the tempo marking is Quasi Samba ( ♩ = 144).