Carcassi Op.60 Sequence

Classical Guitar technique: studies, scales, arpeggios, theory
Forum rules
IV Laws governing the quotation/citation of music

For discussion of studies, scales, arpeggios and theory.

Carcassi Op.60 Sequence

Post by edspyhill01 » Mon Feb 20, 2006 3:08 am

Can the Carcassi Op.60 studies be learned in numerical order or are there other sequences they can/should be learned?

Thank you,
Ed S.


Post by tesicb » Wed Feb 22, 2006 7:32 pm

Well, I guess you should learn from the very beginning to the very end :roll:

Seriously, the best way is to realise your weaknesses and do the studies that will improve the most those particular elements. but in any case it's recomended to learn as many as possible.

Florentin Tise

Post by Florentin Tise » Wed Feb 22, 2006 10:49 pm

I guess I should answer your question with another question:

"Why do you ask?" :)

What are you trying to do? Are you trying to learn just the ones you like? Then skip the ones you don't like. I don't see anything wrong with that.

It is a great feeling of accomplishment to complete a book like that though. But then again, there are so many other etudes: Sor, Tarrega, Aguado, Brower, not to mention Villa-Lobos.

Good luck to you.


Post by edspyhill01 » Thu Feb 23, 2006 3:45 pm

My focus is to just start working on one of the studies. I worked on #6 about a year ago but put it away because I could not get if smooth and even when played.

I looked at the first 5 studies and it looks like each study focuses on specific technique and it seems Carcassi didn't see his Op.60 as even graded sequence from #1 onward. So I decised to jump in and started with study #1 with the idea to key on the RH & LH technique demanded by the study.

Ed S.


Post by david_classg » Mon Feb 27, 2006 11:28 pm

i belive those studies are not in a strict progressive order, for example, study 1 is more advanced than study 6, 8 , 2 or 3. i'm a megginer taking classical guitar as principal istrument on my city's conservatory and i'm currently working on carcassi op.60 studies and the order every teacher ther has for them is very much alike; the order for the first level is: 3,2,6,8,13,15,16. i hope that helps :o

User avatar
Steve Kutzer
Posts: 1421
Joined: Sat Dec 10, 2005 4:11 pm
Location: Atlanta, Georgia

Post by Steve Kutzer » Tue Feb 28, 2006 2:11 am

My instructor started me out with #2, FWIW.

Florentin Tise

Post by Florentin Tise » Tue Feb 28, 2006 4:38 pm

yes, #2 is a great one to start with. It deals with right hand technique (arpeggios) and also shifting to different positions.

That is a great one to begin with.
Last edited by Florentin Tise on Wed Mar 01, 2006 3:20 pm, edited 1 time in total.


Post by edspyhill01 » Tue Feb 28, 2006 6:04 pm

Thank you to all who answered my question. (Florentin, Steve Kutzer, David Classg, tesicb) Much appreciated.

Ed S.

Tony Hyman


Post by Tony Hyman » Sat Dec 30, 2006 5:59 pm

I'm busy really chewing on OP 60 no 3 , actually wrote the chords at
beginning of each bar and I can' t believe that this is actually a grade 4
piece ,in my country anyway .Reading the standard notation and the dynamics properly is one thing ,but this is only the tip of the ice berg
now if you're chordal harmonies for jazz blues rock or whatever ,here
is definitely some flowers to smell on if we talk about useful practical use
chords in composing and not just learning a lot of fancy named chords which we don't always no how to apply eg .the progession from bar 6
to 8 ,my interpretation of those chords would be A13b9 to A7b9 to B11
to B7 to E. Wait there's more! bar 13 Bm7b5 to G#dim to F#m.Bar
23 B7b5 to E7 to A. So it seems that there's a lot more to these studies
than mere repitition of triplets and thinking that we have got the piece
pretty worked out.This is only one study, what about the rest.
I apologise if I am stating the obvious.


Post by Fastik » Sat Dec 30, 2006 11:18 pm

Hi Tony,

I would look at the chord structures here in a different way - theoretically speaking. mm6 is essentially an A# fully diminished 7th, with the F# in the melody being carried over from the previous measure, with the final purpose of leading to the dominant in mm7. The E in mm7 is also simply a melodic device carried over from the previous measure, but the real harmonic function is simply a dominant 7th (V7 of V), leading to the resolution to the dominant E, setting up the B section in the dominant key.


Post by John_in_CT » Tue Jan 02, 2007 8:37 pm

Hi Ed,
I have David Tannenbaum's essential studies book for the Carcassi Opus 60. Tannenenbaum says that the pieces are fairly well graded, although he says number one is more difficult that 2, 3 and 16 (I think). I have worked on 2, 3 and am currently working on 7 (which is my favorite of the 25).

mr. steve


Post by mr. steve » Sat Jan 06, 2007 5:03 am

well...opus numbers are supposed to be how we find the music right?
basically in my opinion its an archive....they are all different songs, so unless you want to be a very well aquainted with the composer's works, i wouldnt recomment it



Post by tremolo_jones » Sun Jan 07, 2007 6:02 pm

Tony Hyman wrote: eg .the progession from bar 6
to 8 ,my interpretation of those chords would be A13b9 to A7b9 to B11
to B7 to E. Wait there's more! bar 13 Bm7b5 to G#dim to F#m.Bar
23 B7b5 to E7 to A.
A jazz-harmony approach misses the point in a piece like this. Think more in terms of voice-leading and non-harmonic tones, specially the appogiatura and suspension.



User avatar
Posts: 29
Joined: Tue Aug 23, 2016 7:32 pm

Re: Carcassi Op.60 Sequence

Post by eadiaz » Wed Dec 28, 2016 9:47 pm


I'm curious if there are additional perspectives on the order of difficulty of each of the etudes in Carcassi's Opus 60. It looks to me like Noad in "100 Graded Studies" ranked them as follows. Does this ranking seem reasonable?

"I love the guitar for its harmony; it is my constant companion in all my travels." -- N. Paganini

User avatar
Posts: 618
Joined: Sun Jul 15, 2012 1:15 am
Location: Rancho Mirage, California

Re: Carcassi Op.60 Sequence

Post by Aucaman » Thu Dec 29, 2016 7:34 am

I first studied the Opus 60 in 1965. My teacher then assigned only 16 of the 25 Carcassi studies in the following order.

2; 3; 4; 6; 7; 13; 14; 15; 16; 17; 19; 23; 18; 21; 22; and 24.

For some reason I have never tried any of the others :?:

Return to “Classical Guitar technique”