🎯 The Etude Challenge: Study Pieces, Serious Progress - Week 5

Attention tonebuddies! It's time to embrace the music that was literally designed to make you a better guitarist. Welcome to The Etude Challenge — four weeks dedicated to the art of the etude!

Etudes occupy a unique place in the classical guitar repertoire. They're technical workouts disguised as beautiful music — pieces that sharpen your skills while rewarding you with something genuinely worth performing. From the elegant simplicity of Carcassi and Sor to the rhythmic brilliance of Brouwer's Etudes Simples, the virtuosic fire of Villa-Lobos's 12 Études, and everything in between — there's an etude out there for every player at every level.

This challenge is your chance to pick one (or more!), commit to it, and share your journey with the community.

🎯 Whether you choose to:

  • Tackle a classic — Sor Op. 35, Carcassi Op. 60, Giuliani Op. 48
  • Go for something bold — Villa-Lobos, Barrios, or Coste
  • Explore the modern side — Brouwer, Carlevaro, or Bogdanovic
  • Revisit an old friend — Polish a piece you learned before and bring it to a new level

…this is your moment to dig in and grow. This challenge is open to all levels — whether you're working through your very first Sor etude or preparing a Villa-Lobos for the stage, you belong here.


📅 Challenge Dates

Start: February 23

End: April 17


💡 How to Participate

  1. Pick your etude – Choose one that excites you and challenges you. Not sure where to start? Ask the community for suggestions!
  2. Share your goal – Tell us what you're working on and what you want to achieve (clean run-through, memorization, performance tempo, etc.)
  3. Post your progress – Upload short clips, practice notes, or reflections as you go. We want to see the process, not just the polish.
  4. Engage – Listen to what others are working on, leave encouragement, and trade practice tips!

90 replies

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    • Dale_Needles
    • 2 wk ago
    • Reported - view

    Dale.Mario.Sketch1 

    Here is a fun little sketch/study that I wrote and recorded with Mario Negreiros at his winery in the upper Douro Valley of Portugal last week. It is for guitar and voices.

      • Amateur guitarist/lutenist
      • David_Krupka
      • 2 wk ago
      • Reported - view

       A very interesting musical sketch, Dale! (And very well performed and recorded too!) I've listened to it half a dozen times already - it's effect is somehow hypnotic. Did you write out the vocal parts in standard notation?

      • Dale_Needles
      • 2 wk ago
      • Reported - view

       Thanks David. I wrote the chord progression and Mario did the vocals, however Mario doesn't read or write music and plays by ear, so no vocals written down. Needless to say, Mario is an amazing musician who sings, plays stand up bass, piano and guitar. 

      • Amateur guitarist/lutenist
      • David_Krupka
      • 2 wk ago
      • Reported - view

       Well, Paul McCartney doesn't read or write music either. I guess if you have real talent, it's unnecessary. (And for some of us, I'm afraid, it's a substitute for actual talent ...)

      • Ron.3
      • 11 days ago
      • Reported - view

       This is very different - well done! Definitely a lot of fun - hope you had some of the wine to accompany it!

      • BLaflamme
      • 11 days ago
      • Reported - view

       Great Sketch Dale! I didn't know you composed too, do you have anything for guitar alone?

      • Eric
      • 11 days ago
      • Reported - view

       I'd love to listen, Dale, but when I click on the link, it opens up my media player, but no sound comes out. Since others can hear it, I'm obviously doing something wrong.

      • Dale_Needles
      • 11 days ago
      • Reported - view

       When you open the link, it should ask if you want to download the file. Hit download and the audio file should appear. 

      • Retired
      • Jack_Stewart
      • 10 days ago
      • Reported - view

       I just got around to listening to this, Dale It is very interesting and atmospheric. Your shifting chords over the pedal base provide a perfect accompaniment to the vocals. Are there other voices or is Mario over-dubbed?

      Great work, thanks foe presenting this.

      • Dale_Needles
      • 10 days ago
      • Reported - view

        Thanks for listening. It was fun putting this together with Mario. As far as composing, not really my thing but I like to improvise from time to time. As for the voices, they are over dubbed. Mario and I also did a couple of more sketches which consist of Guitar, Voice and Trumpet. Maybe I will share one of these next week. 

      • Retired
      • Andre_Bernier
      • 9 days ago
      • Reported - view

      Nice, I just enjoyed listening with a glass of wine. Thanks Dale

      • Dale_Needles
      • 9 days ago
      • Reported - view

       Perfect way to listen to it. 

    • Eric
    • 11 days ago
    • Reported - view

    Shand - Study from Op 2

    This is from Shand's Improved Method from 1896. The tempo marking is allegro, so it should go much faster, but this is about as fast as I can keep all the shifting under control.

      • Ron.3
      • 11 days ago
      • Reported - view

       Very nice Eric - did you use the right hand fingerings suggested in the facsimile edition?

      • Eric
      • 10 days ago
      • Reported - view

       Thanks Ron. My right hand is so messed up that I am not able to follow anyone’s right hand fingerings. I’m pretty embarrassed when I look at my right hand in videos. I mostly used his left hand fingerings, but I changed a few.

      • Performer, Teacher @Conservatory M. de Falla and member of Nuntempe Ensamble GQ
      • Ariel.1
      • 10 days ago
      • Reported - view

       hi Eric! why do you say your right hand is messed up? Is there some technical or medical reason?

      • Retired
      • Jack_Stewart
      • 10 days ago
      • Reported - view

       That is really beautiful, Eric. It has a haunting melody that is wonderfully developed in the middle part. (though I do find the Picardy 3rd final annoying.) I have only heard a few pieces by Shand and have not found them to be particularly interesting, however, after listening to your performance of this piece I feel compelled to give Shand a more detailed listen. Thanks for sharing.

      • Eric
      • 10 days ago
      • Reported - view

       Thanks, Jack. I actually really love a lot of Shand's compositions, but I find his studies pretty dull. There were only a few that I liked much, and most of those were very difficult. This is the only one that "hit the sweet spot" (i.e. playable by me and not boring). You're right, though, the Picardy third is cliche.

      • Eric
      • 10 days ago
      • Reported - view

       A few years ago, I began to lose the ability to use my right hand index finger. It began with a lot of inaccuracy placing it on the correct string. Eventually, arpeggios using that finger became unplayable. The same goes for i-m or i-a scale passages, so I usually will use p-m or p-i, instead. When I force myself to use it in arpeggios, my thumb starts involuntarily curling inward at the first knuckle.

      From what I've read, I suspect it may be focal dystonia, but I really am not sure. I now only use the index finger when absolutely necessary, typically when playing full chords. I compensate with a lot of use of the thumb, and quite a bit of repeated ring finger. Many pieces are simply impossible for me to play (for example, Villa-Lobos Etude 1, or even the famous Romanza).

      • Performer, Teacher @Conservatory M. de Falla and member of Nuntempe Ensamble GQ
      • Ariel.1
      • 10 days ago
      • Reported - view

       oh,... so sorry to hear! Yeah, it reads as focal dystonia. It's a curse for many musicians and guitar players specially. It happened also to Luigi Biscaldi, my very best friend and teacher in Italy, Luigi was Gilardino's co-teacher and one of his most accomplished students. You can read his name in many of Gilardino's editions as a co-editor. 

      Though I am sure it must be painful to you, I appreciate the enormous will that keeps you playing. Courage!! 

      on the side, I know there are different types of dystonia and just one of them is uncurable. Have you looked up for an specialist? Are you under some kind of treatment? Can I be of assistance in any way? 

      • Eric
      • 10 days ago
      • Reported - view

       Thank you for the kind words, Ariel. I do not experience any physical pain at all. It is just the frustration of losing an ability I once had, but that, of course, is a natural part of living. I am still able to enjoy playing the pieces my hands allow me to play. I am only an amateur guitarist, so it does not affect my ability to sustain myself or my family. I imagine it could be devastating for a professional musician.

      I have not sought any professional help, and to be honest, I don't really think I want to do so, at least for now. I spent a little while fighting against it, thinking it could be solved by playing more arpeggios and scales, but the more I just let go of it, the happier I am. Like I said, I am still able to play a lot of music, and it still brings me great joy.

      • Retired
      • Andre_Bernier
      • 9 days ago
      • Reported - view

       Beautiful study Eric. Well done. 

      • Amateur guitarist/lutenist
      • David_Krupka
      • 9 days ago
      • Reported - view

       Very nice, Eric. Really great tone in the treble! Curiously perhaps, if you hadn't mentioned anything about your right hand issues, I would not have noticed anything unusual. (Now that you've pointed it out I see how you are compensating.) I like your attitude towards injury - it's one which I hope I share. I suffered a stroke a number of years ago and have had serious left hand issues ever since, but I still manage to get considerable enjoyment out of practicing! Concerning a technical point, I notice that in the IMSLP edition of the method, the ligado which occurs in the final cadence is from the open third string to the F# on the fourth string. This was a standard technique in the 19th century and is quite effective. It's also technically easier - for the left hand, at least. (That's probably why I like it so much!) I don't know if you've considered using this technique yourself, but I do find it can be executed with the 'a' finger.

      • Dale_Needles
      • 9 days ago
      • Reported - view

       Hey Eric, I had not noticed any right hand issues and always felt you had a real nice tone, although watching more closely, it does appear your right hand may be a little less fluid that in the past but truly not really noticeable. I can relate since I have been dealing with dupuytrens contracture for the past 10 years in my right hand. It takes some workaround but always worth the effort. 

      • Eric
      • 9 days ago
      • Reported - view

       Thank you, David. I did not know you had suffered a stroke. I can only imagine the impact that has had, not only on your music-making, but on your entire life. It's always difficult when we have to face the limits of our abilities, especially when those limits are on the increase. But no matter what, we have the joy of practicing and making some beautiful music, even if it's just one beautiful note! Thankfully, I have often found it most enjoyable to play simpler pieces, and I suspect we may be similar in that regard.

      I did notice the fingering on that slur at the end. (I'm using Stanley Yates' edition, but he is faithful to the original in his fingering.) I tried it both ways, and using a pull-off on the 4th string alone felt more natural to me. You mention doing it with the RH ring finger - would it be typical to use the same RH finger for both notes?

      • Eric
      • 9 days ago
      • Reported - view

       Thank you, Dale. I must say, I have always looked on your technique (both hands) with admiration, and a bit of jealousy. I would not have guessed that you had dupuytrens contracture. My mother just had surgery for that about a month ago. I'd be curious what kind of workarounds that requires of you.

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