As the title of his book attests, guitarist and musicologist Martín Pedreira presents a methodical treatment addressing the most highly refined guitar techniques. In my opinion, we should not confuse the methodical with the routine, because the latter does not facilitate the completion of any task. We applaud Pedreira for his rigorous vision of instrumental practice and his meticulous attention to the physical-motor aspects of the instrumentalist. This reference book is worthy of frequent consultation for its valuable suggestions. Leo Brouwer This comprehensive reference book integrates the historical, structural, technical, and ergonomic aspects of classic guitar performance with the individual player’s cultural, intellectual, creative, and emotional facets in what the author calls a psychophysiological approach to interpretation. In addition to its emphasis on ergonomic posture and technique, the book includes over 200 short musical excerpts by Sor, Giuliani, Coste, Tárrega, Barrios, Montoya, Ponce, Pujol, Villa-Lobos, Rodrigo, Brouwer and others— illustrating practically every aspect of classic and flamenco guitar technique. This unique Wholistic Perspective of Technique Through Repertoire will be useful to teachers, aspiring composers, and to students and professionals forming recital and concert programs. Given the author’s extensive survey of technique and repertoire from an ergonomic point of view, it is likely that even seasoned concert artists and teachers will find something new of intense interest to share with their audiences and students. No classic guitarist’s library would be complete without this landmark book! The author’s goal in presenting this multifaceted approach is to provide theoretical and practical coordinates for improving guitar interpretation while acknowledging the player’s intellectual and emotional contributions. While there is no companion recording for this book, many of its examples can be heard in their entirety on YouTube. The inclusion of numerous quotes from renowned guitar virtuosos and other instrumentalists, plus statements by non-musician artists, scientists, and psychophysical experts from the Renaissance to the present day — emphasize the wholistic nature of this book. Readers are encouraged to put everything they have into their performances, including technique and musicianship, of course, but also general cultural knowledge and, yes – personal experience, feelings and even spirituality in order to: “… Enchant instead of astonishing the audience… [and] play more for the heart than for the eyes.” – Alexandre Lavignac, La Educación Musical