Konrad Ragossnig . Step by Step, basics of guitar technique in 60 Classical and Romantic Studies.
Published by Schott, ED 20101.
This book has been around for some time, but only recently arrived for review. The composers represented include Aguado, Carulli, Giuliani and Sor. Nearly half of Carcassi’s opus 60 is present, clearly he was one of Konrad’s favourite guitar writers. A few less familiar writers are represented – Daniel Fortea’s Estudio Poético No.1 is an enchanting little study. There are some Antonio Cano studies too with some unusual melodic turns. It struck me that the inquisitive student might wish to learn a little about the writers – a few sentences which contextualise the music might have been welcome.
There is a contents page with the opening bars of the studies in reduced font size, an alphabetical ordering and a reference section on which pieces address which technical issues. The studies lean towards the more developed student – I can’t see many of these sitting in anything less than a grade 5 exam.
The music is beautifully typeset and Konrad has lavished much attention on the fingering. I liked the idea of putting in parenthesis the actual practical value of a note, which a composer may have carelessly written as lasting longer than possible. Giuliani’s Op.98, no.3 is one example. Sometimes he writes out a short preparatory exercise to lead us into a piece; other times, he offers us a more workable solution to help us realise a composer’s intentions. Everywhere, we are advised of the technical aspects which the study addresses, be it 3 note chords, stretching or ligados.
We probably already own much of this music. I doubt if we have it so beautifully and meticulously presented. Konrad and Schott deserve our thanks for presenting these familiar studies in a highly readable format. For the student searching for a single anthology replete with didactic merit and beguiling guitar writing, this book must be recommended.
Colin Tommis
