T h e 3 1 L e s s o n s ,

E x e r c i s e s a n d S c a l e s

f r o m

C o m p l e t e M e t h o d f o r G u i t a r

N a p o l é o n C o s t e ( 1 8 0 5 - 1 8 8 3 )

E d i t e d b y T h o m a s R e u t h e r

WW

W.T

HO

MA

S-R

EU

TH

ER

.DE

II

Contents

About this edition

Zu dieser Ausgabe

The 31 Lessons, Exercises and Scales

III

About this edition

The Method for Guitar by Fernando Sor was enlarged on comments by the French guitarist and composer Napoléon Coste. In addition, he expanded the method by the inclusion of pieces, scales and studies.

This enlarged method was published in Paris by Schonenberger under the title Méthode complète pour la Guitare par Ferdinand Sor, rédigée et augmentée de nombreux examples et leçons, suivis d'une notice sur la 7e corde par N. Coste.1 The plate number is S. 1726. The publishing date was about 1845.2

The Method was classified by Coste into six parts: The first part contains the prescribed 31 Lessons, Exer-cises and Scales. The second part describes the imitation of other instruments on the guitar; the notes on the fingerboard are clarified and fingerings are given on each string along the fingerboard; fingerings of the right hand are explained with examples; rules are given for the sounding of chords. The third part addresses thirds, sixths, their fingerings and is completed by appropriate studies. The fourth part describes scales and chords, ascending and descending slurs and harmonics; this part contains the study using harmonics Reverie Nocturne. In the appendix Coste describes the seven string guitar (7th string being tuned to "C" or "D") with some studies and pieces. This part also contains 7 dances composed by Robert deVisée, arranged by Coste. The following section is the 26 Études pour la Guitare by Sor which are compiled and provided with fingerings by Coste. Coste gives the following order for the studies: op. 35/Nr. 13, 14, 15; op. 31/Nr. 21; op. 35/Nr. 16; op. 6/Nr. 1, 2; op. 35/Nr. 17, 22; op. 6/Nr. 4; op. 35/Nr. 24, 23; op. 31/Nr. 19, 20; op. 35/Nr. 19; op. 6/Nr. 8, 6; op. 31/Nr. 15; op. 6/Nr. 9; op. 29/Nr. 14; op. 31/Nr. 22, 16; op. 29/Nr. 13, 22, 17, 18.

With the exception of the corrections cited in the footnotes, the 31 Lessons, Exercises and Scales from part one are given here in the original, unaltered form. The correction and expansion of left hand fingering is not footnoted. The notation of the harmonics in no. 22 and no. 28 shows both the actual sound and the fret (in Arabic numbers) to be touched on the respective string.

Coste describes the portamento in no. 19 with a sliding of the depressed finger (of the left hand); the effect should be a fast chromatic scale. He does not distinguish between portamento and glissando. ("On appelle ce genre de coulé Portamento ou Port de Voix. Il se fait en glissant le doigt sur la mème corde et en continuant à la comprimer afin de faire entendre une gamme Chromatique rapide.")3

Thomas Reuther Ulm in November 2005

1 “Complete Method for the Guitar by Fernand Sor, revised and expanded with numerous examples and lessons with attention to the 7th

string by N. Coste.“ The title of this method indicates that Coste also included works for the 7-string guitar which had become more popular

since Sor's death. 2 Jeffrey, Brian: Fernando Sor, Composer and Guitarist. Tecla Editions. Preachers’ Court, England, 1977. Page 183. 3 One calls this type of slur a Portamento or Port de Voix. It is done by sliding the finger on the same string while continuing to depress the

string so as to hear a rapid chromatic scale.

IV

Zu dieser Ausgabe

Die Gitarrenschule Fernando Sors wurde von dem französischen Gitarristen und Komponisten Napoléon Coste durch Kommentare ergänzt und um methodisch-didaktisches Arbeitsmaterial (Übungsstücke, Tonleitern, Etüden usw.) erweitert.

Diese erweiterte Schule wurde mit dem Titel Méthode complète pour la Guitare par Ferdinand Sor, rédigée et augmentée de nombreux examples et leçons, suivis d’une notice sur la 7e corde par N. Coste bei Schonenber-ger in Paris unter der Plattennummer S. 1726 verlegt. Das Erscheinungsjahr war ca. 18454.

Das Werk wurde von Coste in sechs Teile gegliedert: Der erste Teil enthält die vorliegenden 31 Lektionen, Übungen und Tonleitern. Im zweiten Teil wird die Imitation verschiedener Instrumente auf der Gitarre beschrie-ben; es werden die Töne auf dem Griffbrett erläutert und Fingersätze über die ganzen Saitenlängen gegeben; Fingersätze der rechten Hand werden an Beispielen erklärt; Regeln zum Anschlagen der Akkorde werden gege-ben. Der dritte Teil behandelt Terzen und Sexten sowie deren Fingersatz und wird durch entsprechende Etüden ergänzt. Der vierte Teil beschreibt Tonleitern und Akkorde, Aufschlag- und Abziehbindungen und Flageolett-Töne; dieser Teil enthält die Flageolett-Etüde Réverie Nocturne. Im Anhang beschreibt Coste die siebensaitige Gitarre („C“ bzw. „D“ für die 7. Saite) mit einigen Etüden und Stücken. Dieser Teil enthält auch sechs Tänze von Robert de Visée in der Einrichtung von Coste. Daran schließen sich 26 Études pour la Guitare von F. Sor an, die von Coste zusammengestellt und mit einem Fingersatz versehen wurden. Die Reihenfolge der Etüden nach Coste lautet: op. 35/Nr. 13, 14, 15; op. 31/Nr. 21; op. 35/Nr. 16; op. 6/Nr. 1, 2; op. 35/Nr. 17, 22; op. 6/Nr. 4; op. 35/Nr. 24, 23; op. 31/Nr. 19, 20; op. 35/Nr. 19; op. 6/Nr. 8, 6; op. 31/Nr. 15; op. 6/Nr. 9; op. 29/Nr. 14; op. 31/Nr. 22, 16; op. 29/Nr. 13, 22, 17, 18.

Die 31 Lektionen, Übungen und Tonleitern des ersten Teils wurden bis auf die in den Fußnoten angegebe-nen Korrekturen unverändert in diese Ausgabe übernommen. Nicht kommentiert wurde die Korrektur bzw. Er-gänzung des Fingersatzes der linken Hand. Die Flageolett-Töne in No. 22 und 28 wurden in Klang- und Greifno-tation dargestellt. Das portamento in No. 19 wird von Coste mit dem gedrückten Gleiten des entsprechenden Fingers und der Wirkung einer schnellen chromatischen Tonleiter beschrieben. Er unterscheidet nicht zwischen portamento und glissando. („On appelle ce genre de coulé Portamento ou Port de Voix. Il se fait en glissant le doigt sur la mème corde et en continuant à la comprimer afin de faire entendre une gamme Chromatique ra-pide.“) Thomas Reuther Ulm im November 2005

4 Jeffrey, Brian: Fernando Sor, Composer and Guitarist. Tecla Editions. Preachers’ Court, England, 1977. Seite 183.

V

Title page from the Complete Method for Guitar

No. 1

0

The 31 Lessons, Exercises and Scalesfrom

Complete Method for GuitarNapoleon Coste

Edited by Thomas Reuther

1 3 0 2 3 0 2 3 0 2 0 1 4 0 1 41

V3 4 1

X3

No. 2

2 32

3 23

Lesson1 4 0 1 4 1

9

0

0

2

32

No. 3

Lesson1 4 1

4 1 11

5 1 2

4 1 1 4 1

2 3

33

www.Thomas-Reuther.de

1

No. 4

Scale3

p

1)

1 3 0 2 3 0 2 3 2 3 0 2 3 0

i

3

p

0 2 3

i

2

m

0

i

4

m

1

p

2

p

3

i

0

m

2

i

0

m

1

i

4

m

0

i

0

m

2

i

0

m

1

i

4

m

0

i

1

m

4

i

1

m

4

i m

1

i

3

m

1V

i

3

m

4

i

3

m

1

i

4

m

2

i

0

I

m

8

i m i m p

2 3 4 0

2 3

23

1

No. 5

Lesson 4

21 4 1 4

5

23 2 3 2

33

14 1 1 4

9

2 3

2 32 1

14

21 4 4

13

1) No. 4: it is recommended to practice the notes on the bass strings with the same right hand finger alternation (m-i) as given on the treble strings (ed.).

3 1 2

33

14 1 4

1

2

No. 6

Scale1

2)

www.Thomas-Reuther.de

3

p

23

i

2

m i

1

m

4

i

0

m

1

i

3

m

1

i

V3

m

4

i

31

m

X3

i

4

m

3

i

1

m

4

i

3

m

1

i

3

m

4

i

1

m

3

i

41

31 4

m

6

3p1

23 3

No. 7

[Lesson]

2II 2

VII1 4

1

I

p

40

41 4

14

9

2

14

4 33 3)

[Fine]

14

1p

1 3

4 12IX

1

I

4 14

18

12 3

1

2 32

2

4 2 14 2

4 14 1 3

22 3 4 4 1

2

2) No. 6: Cf. footnote no. 1) on page 2.

12

32

3

261

D.S. [al Fine]

p p p p

No. 83

i

2

i

32

i

3

i

20 0 2 1

0 4 1

33

2

4 1 40 2 0

0 2 0 2 3 0 2 31

No. 9

p p p p p p

1

i i

2

i

3

i

2

i

4

i

14

4

23

2 11

4

Exercise

No. 10

1II

0 2IX

14 3 2 1

4 2 1 30

II

3 2 1I

2 1 42 1 0 4

4

2 0 4 21

II

12 0

IX

3 12 4 1 2

3 4 1XIV

3

7

1 1

4

243

IV111

VII423

II411

1 3 1

Lesson

No. 11

4IX

12

02

II

2 2

2

IX1

44

10

4

5

1 3 1

12

2

II

2 2

2IX

14

1 41 2

9

24

14 2

1

0

13

1 2

2 4 4 4IV

1IX

2 41

5

17

3 1 113

12

41

1 1

2 3

1

2 12

[Lesson]

No. 12

Andante1V

1)

2 4 43 3

5

12 2

2 3

4 1 3 3

4 13 1

9

32

32

32

21

12

1

IV III II I

15

1 1

2 3

1

13

12 2 1

2

4

1V

2 4 43 3

21

3

3) No 12: bar 1: right-facing repeat sign missing in the original. Inserted here.

11 2

2 3

4 1 3 3

2 13 1

6

Exercise

No. 13

2 1 01V

4 3 14 2 0 4

1 0 2 3 2 1 2 3 1

4

2 1

3 1 1 3 4 3 14 1 3

2 43 2 1

7

1 31 4 1

22 1

4 1 3 4 411

111

No. 14

Lesson 1V

www.Thomas-Reuther.de

3 4 1 1IV

2 4 01

VII2 4

1V

5

1VIII

2 4 1VII

1V

4 3 1 IV

9

3 1 12

2

I1 2 4 1 4 1

13 2 4 14

21

1.4)

2.

2

4) No. 14: bar, 16, beat 1.5, middle voice: the original shows "g". Corrected to "g sharp".

3 23 2 3

7

1 2

3 2

Lesson

No. 15

4V

3 1 1

IV2 4

I

14 1

5

2 2

4V

3 1 4 2 0

I

4 11

3 1 3

9

1

2

3

2 32

2 4 1 21 4 4 1

13

3 2 1 1 4 2

12

4 4 4 43

3

3 2 3

6)Scale Exercise

No. 164 1

14 1

14

11 4

5)4

7

2 3 23 3

0

21

3 14 1

24

14 1

4 14 1

14 1

14

1

5) No. 16: bar 6, beat 1, lower voice: the original shows a slur from the bass note ("g") in the measure before to "g sharp". Slur omitted here.6) No. 16: bar 6, beat 3, lower voice: the original shows "G". Corrected to "E".

2 1 12

33

4 2 1 2 32

4 143

41

8

Scale

No. 173

I

p

7)

i

2

p

3

ip

2

i

4

p i

2

p i

1

m i p i

4

p

2

i p i

4

p i p i

1

m

4

i m

2

i

4

m i m

4

i

1

m i

5 2

p i

1

m

4

i m

1

i

VII

2

m

4

i

1

m

2

i

4

m

2

i

1

m

4

i

2

m

1

i

0

m

I

2

i

4

m

2

i m

4

i

1

m i

2

p i

1

m i

2

p i

4

p i

9

2 1

I

3 1

VII

2 4 1 24 2 4 1

4 1

XII3 4

443

III

21

I

32

2

Lesson

No. 182

12

1 4 1 4 1 42 3

41 4

7

3 23

21 4

21 4

3 12

4 1 4 12

13

2

7) No. 17: bar 1: Cf. footnote 1) on page 2.

13

4 2 31 3

23

2 10 2

4

9

21

This page has been left blank to avoid awkward page turns..

10

2 32

1 4

No. 19

Lesson

1

III1 4

3

I

1 42 3 1

V3 4 1 3 0

3 2 1

4 2 1 23 1 2

1III

1

V4 0 1 4

3 3

I

02

21

8

0 1 3 2 23

44 4

3 1

II

22 1 4 2 1

2

2VII2 1 4

2 1 0 4

I

4 1

12 2 1 24 1 2

162.

Fine

2 41

1.I

2

19

11

42

VII

3 11 2 4 1

2 13 3

23

8) No. 19: bar 23, beat 3.5, upper voice: the original shows "f1 ". Corrected to "f 1 sharp".

1 3 1

2 1 42 1

2

2

1 48)1

24 3

11

27

3 2 31 2

1 4 4

9)

4IX

3 21 2

VII

1 04

I

31

12

1

1 2 33

24 3 3 3

4

10)

4VII

1 20

I

1 2 41

11)

1

X0 3

I

2 1 4

35VII

39

12)1. 2. D.C.

No. 20

ScaleII

p

13)

1

i

3

p i

1

p i

1

m

2

i m

2

i

1

m i

1

m i

3

p

1

i

3

p i

1

p i m i m

1

i

4

m

2

i m i m i p i p

1

i m i m i

1

m

2

i

44IV

2 2II

1

7

1

1

II

9) No. 19: bar 28, beats 1 and 1.5, upper voice: Coste gives instructions to play "portamento" here with the fourth finger from the 4th fret to the 12th fret. Cf. preface.10) No. 19: bar 33, beats 1 and 1.5, upper voice: Coste gives instructions to play "portamento" here with the fourth finger from the 4th fret to the 10th fret. Cf. preface.11) No. 19: bar 34, beats 1 and 1.5, upper voice: Coste gives instructions to play "portamento" here with the first finger from the 1st fret to the 10th fret. Cf. preface.12) No. 19: bar 41, beat 3.5, upper voice: Cf. footnote 8) on page 11.13) No. 20: bar 1: Cf. footnote 1) on page 2.

2 0 1

VII2 4 1 3 4

412

42

VII41

12

II

14)

Exercise

No. 21

2 1 44

VII3 1 4

2 1 0

II

2 2 2 1 4

VII

4

1

VII0II

2 12 1

I2 3

1

8

2

1

III1 4

II4 2 1 3 4 2

1 21 3 1

411

VII

11

22

Lesson

No. 22

Andante1 2 4

II4

VII 312

12

13

23

13

14

14

12

5

3

1

1

2 1 1 1 3 11

44 4 2

123

34

34

94 1

3

13

12

12

112

33

341

13

13

31

2

12

12 1 2

24

1 1 21 2 3

17

22

44

312

15)23

13

14

21

3

1

3 3 2

2 1 1 1 3

1

44 4

21 3

24

4

0 1 3 0 1 3

0 1

13

12

11 3

1

4

4

3

23

II 16)

0 1 2

0 1 2 3 44 3 1 2

12

21

27

13

II

0 3 0 1 3

0

13

12

11 1

1 5 4 7

11

1 0 1 2

0 1 2 3 43

VIII4 44

VII17)

7

harm.

1

30

14) No. 21: bar 1, beat 1, lower voice: the "8" below the bass note "d" indicates "8va bassa". Tune the 6th string to "D".15) No. 22: bar 18, beat 1, lower voice: tie missing in the original. Inserted here. Cf. measure 2.16) No. 22: bar 24: for playing the slurs only the first note is played by the right hand. The following notes of each slur are sounded by an ascending slur of the left hand fingers.17) No. 22: bar 29: the diamond-shaped noteheads indicate harmonics on the 4th string. The frets are indicated by the numbers below. Additionally the resulting ptich is given above.

13

1II

VIIIII

14

2 3

No. 232

Lesson3 1

4 31

2 11

2

5

1 3 3 1

2 4 4 21

14 2

9

1 1

2 42

4 2 4 3 2

13

1 3 2 2 1 2

1

22

2 43 3 4

0

12

4

42

41

No. 24

Scale I

2

i m

0 1

i2

m4 1

VII3

4 2 1VI

42 1 0 3

I

2 3 0 11

III3 4 3

4

3

1

18) No. 24: bar 5: Cf. footnote 1) on page 2.

4 0 3

I

2 3 23

p

18)

2

i m

3

p

2

p i p i p i p i3

p1

i4

p

142

032 4

2

15

11 3 1

3

No. 25

StudyAllegro 2

3

5

3 3 1 14

1 1 11 1

1

2

9

3 2 3 23

21 3 4

1 1 3

4 1 41 2

1 2

13

13

21 3 4

13 3 3 2 1

3

19)1 2 2 1 1 1 1

17

3 1 31 3

3

1 p

2

i

4

p

0

i

2

p

3

i2

21

3 12

12 4

2 1

2 3

03

25

2 1

1

13

03

2

02

14

02

29

19) No. 25: bar 13, beat 3.5, upper voice: the original shows "b flat". Corrected to "b".

3

14

02

14 1

11

X

11

III

16

2 34

2

No. 26

LessonAndante

1

V1 1

VI VIX2 1 4 1

V2

3

2 2

1 2 4 1 2 40

43

II013

V

6

142

032 4 [Fine]

9

2

3

3

1

3

1

I

3

1 4

1

2

4

1

4 1

1 2

122 3 2 1 3

1

3 1

V4 1 2 1 1 3

4IX

1 2 4 0 V2 1 4

I1 2 4

3

15

2 41

3

2

4

2

2

3

3

24

1

V4

181

VII 4 VI 43

1 2 1

1

2

2

3

1

2

1

III

2

IIV

[D.S. al Fine]

4

17

p p

No. 27

Scale

p

2 4

i

2

i

4

p

1

i

2

p p p i p i p

4

i

1

m p p i p i p

2

i

4

m p p i p i

2

m

4

i m i m i m i m

2

i

4

m i

1

m

1

i

IV

2

m

4

i

1

m

2

i

4

m

2

i

4

m

1

i

2

m

4

i

1

m

IX

3

i

8

p 2 1

4

m i m

4

i

2

m

1

i

3

p

0

m

4

i

I

2

m i

2

m

1

i

4

i

2

p

1

i

4

111

001

413

18

2 2

No. 28

LessonAndantino 4

1 1 1

432

21

IX13

VI13

4

IV3

5

1 0 1

1 1 2 2 2

2 2

II

4 20 2 3 4

4 44

1

9

1

43

1

2

4 3 4 2 1 3 4

1

3 4 313 1 3 4

13

2

1

2

1

121 3

4 4 4 4 1 412 1

34

harm.20)

1

1 2

V

19

32

312

12

harm. II1 3 4 2

31

IV

12

harm.II 3 1

23

221 2 1 1

2 3 1

31

4VII

3 41

V1 4

23

IV

141

II I

27

20) No. 28: bar 15: the diamond-shaped notehead indicates the harmonic on the 2th string. The fret is specified by the number below. Additionally the resulting ptich is given above.

23

2

1

2

1

IV1 4

403 4

11

19

No. 29

1

Lesson

www.Thomas-Reuther.de

4 2

4

2 1 4 2 1

3

4 1

8

1 1

1 4

0

44 3

121 3 0 3 3 3 3

13

1

4 4 2 4 4 4 4

16

23

11 2

1

1 3 3 2

211 3

4 3

3 2

1

4 14

254 1 2

1 3 2 3

3 2

20

No. 30

Scale

3

I

2 4

1

VII2 4

1VI

2 4 21 4 2 1

4

11

1

I4 3 1 3 4

343

124

111

1

No. 31

LessonIII

4 0 1

I

0 1

II

4 0

I

3 1 01

III

4 0

21)

3 1 1

II

4 3 1 2

5

13

3 3

III3 4 2 1 4

4 1 1 1 4II4 1 2 3 4 1

III1 1 1

Fine.

9

33

33

2 1 4 2 1

VIII1 1 1

I

2 1 4 4 1

VI2 1 1

13

21) No. 31: bar 3, beat 2: no slur in the original. Suggested here.

31

3

3 1

II

3 1 4 2

III1 1 1 2 1 2

I4

121

D.C.

21