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Gaspar Sanz’ Instrucción de música sobre la guitarra españolaįrom there, it is but a short hop to the early 19th century, where the methodology of the guitar expanded in a hundred varied flowerings. Just skimming the surface, one should also mention Francesco Corbetta, Giovanni Battista Granata, Robert de Visée, Lucas Ruiz de Ribayaz, Ludovico Roncalli, Francesc Guerau, and Santiago de Murcia-just a few of the hard-working gentlemen in the 17th century who immortalized their music in exquisite publications. In particular we remember Gaspar Sanz and his Instruccion de música sobre la guitarra española(Zaragoza, 1674), but many other books of guitar music proliferated. Historically, the field broadened whereby all kinds of methods were published. 1535), were not short of direct instruction, but fundamentally they were anthologies of appropriate pieces to be studied by learners in a reasonably progressive fashion. The early books, especially Milán’s El Maestro (ca.
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Aided by progress in the art of printing, these players began the exploration of what academics now call “methodology,” defined as “a system of methods in various fields.” They began the quest for the guitaristic Holy Grail, a system whereby a plucked chordophone such as the guitar could be learned by eager students of varying abilities. The quest for the perfect guitar method began in the 16th century with the vihuela books of Luis Milán, Luis de Narváez, and Alonso Mudarra (as well as a few others). BY GRAHAM WADE | FROM THE SUMMER 2019 ISSUE OF CLASSICAL GUITAR