Etude seven in this set is rather unremarkable. I suppose this is why Segovia as well as many others have not included it in any recent editions, at least to my knowledge. It is the first to use a “drop D” tuning which lends itself to the use of a D pedal point which Sor uses effectively. It is similar in a way to Etude six in that it is a study in thirds although in this case the thirds are separated rhythmically. It also includes the sixteenth-note triplet mordent figure which serves as a good slur exercise combining rapid ascending (hammer-on) and descending (pull-off) slurs.
I decided to not include an analysis of this study since there was little new to discuss. I have included a performance edition for your reading pleasure. Stay tuned.