{"id":12975,"date":"2019-05-21T15:37:22","date_gmt":"2019-05-21T22:37:22","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=12975"},"modified":"2019-05-21T15:37:22","modified_gmt":"2019-05-21T22:37:22","slug":"watch-george-sakellariou-play-three-studies-by-sor","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/watch-george-sakellariou-play-three-studies-by-sor\/","title":{"rendered":"Watch George Sakellariou Play Three Studies by Sor"},"content":{"rendered":"<p>Our new issue will be out by the end of May, and in it you&#8217;ll find the results of our poll on the guitar &#8220;methods&#8221; and etudes <em>CG<\/em> readers&#8217; found most valuable in their development as players. Spoiler alert: The &#8220;winner&#8221; (not that it was really a competition) was Fernando Sor (1778\u20131839), whose methods and etudes were adapted and endorsed by Segovia and, well, just about every professional guitarist out there. (OK, we&#8217;re exaggerating.) Enjoy this video of the great George Sakellariou playing three Sor studies on a fantastic-sounding 1970 Miguel Rodriguez guitar once owned by Pepe Romero!\u00a0\u2014<em>BJ<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Our new issue will be out by the end of May, and in it you&#8217;ll find the results of our poll on the guitar &#8220;methods&#8221; and etudes CG readers&#8217; found most valuable in their development as players. Spoiler alert: The &#8220;winner&#8221; (not that it was really a competition) was Fernando Sor (1778\u20131839), whose methods and etudes were adapted and endorsed by Segovia and, well, just about every professional guitarist out there. (OK, we&#8217;re exaggerating.) Enjoy this video of the great [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":12977,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6,7],"tags":[],"class_list":["post-12975","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2019\/05\/sakellariou-1.jpg?fit=480%2C360&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/12975","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=12975"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/12975\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/12977"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=12975"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=12975"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=12975"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}