Our philosophy


It is said thatthere is no greaterjoyfor a manthan doing what he was born to do. And we areglad to knowwhat is ourmission.

Every student that comes to our school is important to us. With determination and conviction we strive to give our best to contribute to a happy and conscious development of self-discovery through music. Embracing a pedagogical responsibility requires the willingness toopen up to othersandto be truly interestedin each student, implementing aconstantly refreshedand creative design. We believe that astudent-teacherrelationshipshould always bebasedupon cooperation,respect andmutual esteem. We alsoconsider veryimportantthat the personalityof a young artistcan easily maturebeing in contact withseveral teachers. Multiple perceptions, different ways of experiencing music, various kinds of personal approaches, personal life experiences and diverse cultural backgrounds will enrich the student to a greater extent, not only as a musician, but as a person.

Our school works on multiple levels: from the first lessons to the perfection courses. Naturally not all the school’s students will become professional musicians, but we are convinced that through music they will grow as better individuals. Young peoplewho discoverthe joyof making music, both individually and as a group,facing the challengeand effortsthatentailplaying an instrument, will more easily becomevaluable human beings, individualsof great character. The relationshipwith the instrument,throughan inner journey, should eventually leadto the expressionof oneself,of the musicwe feel inside and of what we can communicate.

Therefore we willbe happy toassisteveryyoung guitaristin his voyagethrough music,with renewed enthusiasm andsincere friendship.



Perfection Courses


The guitar perfection courses held at Pordenone have represented for twenty years a spotlight for giutarists on an international scale. This is demonstrated by countless prestigious achievements and acknowledgements obtained by the school’s students throughout the years.

Our didactic principle is founded upon the search for maximal spontaneity within every musical and expressive event. Therefore, to us technique consists in the ability of knowing how to use the body in its most natural way, free to perform the appropriate gestures that help the musician fulfill the ideas found in the music score.

To interpret means to feel, to desire, to understand and to realize. A large part of the interpreter’s research is consequently carried out analyzing all the objective and subjective elements that blend into the creation of sound, therefore making compositions live, translating sensations and emotions suggested by the notes, liberating music as it is and as it is heard.

Individual and chamber music courses are held by Maestros Adriano Del Sal and Paolo Pegoraro.





  • Annual master: 8, 12 or 16 lessons programmed freely in agreement between teachers and students;


  • Biennial perfecting master with final diploma: 16 lessons per year, complying with the biennial study programme;


  • Chamber music perfection course: 8, 12 or 16 lessons programmed freely in agreement between teachers and students.


A different number of lessons can also be defined under special request to the administration.


The courses periods will take place starting September 2019 up until June 2020, at the Segovia Guitar Academy, located at Vicolo delle Acque, 2/a, Pordenone. For those who plan to attend, it will be necessary to pass an admission examination sending a video containing the program for the course you wish to attend (via youtube, vimeo, WeTransfer, Sendspace, etc.) within Saturday 14 September 2019.


These are the dates of the meetings for the current school year 2019-2020:


16 and 8 lessons courses (only Paolo Pegoraro)


2019: 28-29 September, 9-10 November, 30 November-1 December

2020: 1-2 February, 14-15 March, 4-5 April, 9-10 May, 6-7 June



8 and 12 lessons courses (Adriano Del Sal and Paolo Pegoraro)


2019: 26-27 October, 16*-17* November, 14-15 December

2020: 22-23 February, 28*-29* March, 18-19 April, 23*-24* May, 20*-21* June


* only Paolo Pegoraro


Only with Maestro Paolo Pegoraro, it is possible to arrange other dates in the days from Monday to Friday from 10:00 to 14:00 o’clock.



Video exam programme:


  • annual master: free choice programme of approximately fifteen (15) minutes;

  • biennal perfecting master with final diploma: predetermined admission exam programme.


Participation certificates and merit diplomas will be conferred after completing the lessons.





  • Membership fee: € 40,00


  • 16 lessons: € 1150,00


  • 12 lessons: € 920,00


  • 8 lessons: € 650,00


  • Individual lesson without membership fee: € 80,00





The Segovia Guitar Academy provides scholarships to the best students whom distinguished during the scholastic year for them commitment, talent and results, kindly donated by Gilda and Rosita Torres, in memory of them brother Pierantonio, tragically died in Ustica on 27th of June 1980. 



Logistic information


You can reach Pordenone: 


  • by train: linea Venezia-Udine-Vienna 

  • by car: A 28 Motorway 

  • by airplane: Airports of Venezia, Treviso, Trieste


The sojourn necessities could be satisfied through hotels and restaurants that have agreement with the Segovia Guitar Academy.



Biennial Master with final exam


In order to access the biennial course for the Perfection Diploma, musicians who already possess a regular diploma or a 1st level masters degree obtained in Italy or in a foreign country must qualify a further admission exam.

Acces to final exams will be determined by the student’s attendance, which during the biennium shall not be inferior to 2/3 (two thirds) of the total number of lessons. The examination jury will be composed by the teachers and other renowned musicians.

The student admitted to the final exam, structured as a concert, shall adress a simple written request to the administration and deposit € 200,00 as examination fee. 

The administration retains the right to submit to the regulation any modifications necessary to improve the perfomance of the courses.



Admission exam programme:


  • Three movements from a suite, sonata or partita by J.S.Bach selected from BWV 995, 996, 997, 998, 1001-1012; 

  • one of the “Douze etudes” by H.Villa-Lobos;

  • a selection of two movements of a sonata from the XIX or XX century.



Final exam programme 


At the end of the biennium, studends must take a final exam structured as a ca. 60 minute concert. A 90 minute programme will be prepared in advance, selected from the biennial study programme, and one month before the final exam the 60 minute programme will be fully defined.


Biennial study programme


The student shall prepare 90 minutes of music from the following programme:


  • Two or more pieces from the Renaissance (dances, fantasias, ricercari, etc.) chosen among the works of L.de Narvaez, L.Milan, J.Dowland, F.da Milano, etc.;


  • a suite from the Baroque chosen among:

      J.S.Bach: “Sonatas, Partitas or Suites” for Lute, Violin or Cello or

      S.L.Weiss: “Suites” from the “London” or “Dresden” manuscript or

      R. de Visée: “Suites” from the manuscript version or 

      G.Ph.Telemann: a “Fantasia” from “12 Fantasias for solo violin”.


  • “Studies, Sonatas or Capricci” from the Classicism, chosen among: 

      M.Giuliani: “Studi op. 48” nn. 13, 14, 16-19, 22-24; “Studi op. 111” nn. 1, 2, 5 (first part) or nn. 3, 5 (second part) or 

      F.Sor: “12 Etudes op. 6” nn. 6, 9, 10-12; “12 Etudes op. 29” nn. 13, 14, 17, 22 or 

      N.Paganini: “Sonate” nn. 6, 12, 13, 16, 21-24, 30, 33-37 or 

      L.Legnani: “36 Capricci op. 20”;


  • a “Sonata, Fantasia, or Theme with variations” of the Classicism;


  • two “pieces or studies” from the Romanticism, chosen among:

      J.K.Mertz: “Bardenklange op. 13” or 

      N.Coste: “25 Etudes op. 38” nn. 7, 8, 11, 14, 18, 20, 21, 23-25 or 

      G.Regondi: “Ten studies” or 

      a composition of the same period.


  • One or more compositions chosen among the works of F.Tárrega, I.Albeniz (historical transcriptions), E.Granados (historical trascriptions), M.Llobet, A.Barrios-Mangoré, E.Pujol;


  • one or more compositions chosen among the works of M.de Falla, F.M.Torroba, J.Turina, M.Castelnuovo-Tedesco, M.M.Ponce, H.Villa-Lobos, A.Tansman, L.Berkley, F.Martin, C.Chavez;


  • a XX century Sonata;


  • two etudes chosen from “Douze Etudes” by H.Villa-Lobos among nn. 2, 3, 7, 10-12;


  • an important piece written after 1950 chosen among the works of B.Britten, R.Gherard, M. Ohana, H.W.Henze, G.Petrassi, D. Milhaud,E.Krenek, S.Dodgson, W. Walton, L.Berio, N.D’Angelo, T.Takemitsu, A.Gilardino, L.Brouwer.