ct by ton‘These twelve studies are copied from Editions Max Eschig ME. 9333 © 1953. By vistue of their ‘being copyrighted and also eesily available from the publishers there seems litle point in creating a new edition such as this ‘The reason thet! did so, however, is that the Eschig editions, which probably came smote or less icectly from the hand of Villa-Lobos himself, contain elmost no fingesing indications. The ‘material, while not particulary difficult, does range all over the guitar fingerboard in such away asto sake it very chellenging to play on sight. The best fingering is not elways obvious in these pieces. Even sf one makes the considerable effort required to work it out, the result is ikely to be a very messy copy of ‘The fingering I have addedis that which I feel to be useful to a broad range of guitesists, lewving out only very natural or not particularly important usage for the left hend and providing at least some indication of that forthe right hend. An additional factor which led me to copy these studies is that of certein conventions followed in the original editions. One of these is the very frequent appearance of unnecessary sharps, flats and naturals ‘This canbe disorienting ‘The usage of “courtesy” accidentals is unecessary if one follows the usuel rules of key signature and employment of accidentals. Where courtesy accidentals do appear warranted, they ‘may best be enclosed in parentheses to eliminte possible confusion. I have removed redundant accidentals except in very few cases and have parenthesized the ex ceptions. Another convention, sufficiently confusing to cause comment onit to appear in both introductions and appendices to the Eschig editions, is thet of the notetion of harmonics. Rether then propagate this non- standard and occasional inconsistent notation | have replacedit with notation I feel to be most literally accwate. The tone actually to be producedis shown. That it i « hermonic is indiceted by a diamond shaped note head along with the fret position at which the string should be damped and whatever other fingering indicetions might seem sppropriate More @ lack of convention in the source edition is thet of inconsistent usage of repests. There xe several cases in these studies where one or many measures of music are 1-printed when this could have ‘been avoided by applicetion of standard repeat notation. Such repeat notation is used in many cases in the originals but consistent applicetion saved a few pages and clasified the form of several of these studies. A final factor, which seems not a major one in these editions, is thet of simple errorsin notation or printing There are not many, but there appear to be a few. Conecting probable “errors” can be # dicey ‘busness. In some eases! have made changes andin others have not. Among the possibilities | did not change are in measures 19 of #1; 47 of #4, 54 of #8, 34 of #11. Among those I did are in measures 63 of 14, 54, 55 and 56 of #7, 39 of #8; 17, 20 and the next tothe last of #12 Ihave propagated all articulations, dynamic expressions end other comments more or less exactly as they appess in the source edition. Ina few cases have added my own comments, mostly for repeat instructions and clatfication of fingering. I chose to add these in Portuguese mostly on a whim, to add seesoning to the mix of French end telian already in use in the source, but pestly in tribute to the native tongue of the composer. =C. Nelson Santa Ynez Valley Preliminary edition — August 2000CONTENTS 1 (des arpéges) 2 (des arpéges) 3 (allegro moderato) 4 (des accords répétés) 5 (andantino) 6 (poco allegro) 7 (tres animé) 8 (modéré) £9 (tres peu anime) 10 (trés anime) 11 (len) Etude Nf 12 (animé) SSBBRREBanerEtude N21 Etude des arpéges Heitor Villa-Lobos ay rs Allegro non troppoEtude N2 2 Des arpéges Heitor Villa-Lobos. 1 . dled. com mao dt xy ao entt® go eS & g |Etude N23 Allegro moderato Allegro moderatoEtude N24 Des accords répétés Poco moderato 1v— cH cul ig o-* 2 2 z Se . phe eS mt t « we = we: ber 2 fe oD simil mdo esquerde : ee deiiegiie bibs 7oF Oe OF OF LED LE MEE, 9533 © 1953 Eli ig ‘om redagoe deihagao suplementares © 2aie wiles |] Sm R i Nek hr» | iy It | “ts . 7% g re | a) ad ete 5 ts * ‘yiee N Awl Moga Ee Saye elit” “ih Jp. Semis le wo i q 3 > ~ wal. . le sa g ts 1p = News = q Pe is te wa, fh RS Tit Elta Mali wea yo hae os eo | . eo oe eit Hiss ee ie $ t alk S19 ea a = | \) J Sse ‘vos rt z I IF a eS NAS weet I: | \f ©), Ape 5 \ Yeihe wt © : a o4 e z a! 3 S raeEtude N° 5 Andantino Andantino mf 9 x Sooo [MEE 9333 © 1953 Fons Max Eschig -10- com eda dei suplementares © 2000, Nelsona ee = - 25 P = 2 Br Pte et ae cf 7 aa | s — 37 ed—— be be ea gentle e feet ate ge . opite tie fie fie tft tS === tf = eS > oo =Etude N2 6 Poco allegro Heitor Villa-Lobos Poco allegro cl — _ ai cmecy tt xox Bi ov a ¢ OI et ev ew ¢mgn ci cu cic x, bere, obs PhS ad b But ihe Hy H epee fhe cod re simil mao an tempo er 8 4 by$ a “4 $ a # 3 Meno ee - — eit is eo be =— Meno oy, a 4 ey at os cm a4 He he r [ 7 wv a’ tes = ral # —_— te ibe * opts . # = Le Y pans ae = ‘ 4 3 — 3 i * 1X EVI yy ZOE og cv * 5 ef b} Ethie, — —_—_—>= =——— — aE 5 ir f . 2 2 te > — ” rd bao 8, = be 4 2 b s— te 24 be 4 ora gi qd 2Etude N27 Tres animé Heitor Villa-Lobos ‘Trés animé et [MEE 9333 © 1953 Fitions Max Eschig ‘om redagoe deihagao suplementares © 2000 C. Nelson +15.cu ——_, 1. s wai trap ote pad = Tpqrs ni =" — cu— cu fu ee de © = =} : xg cx cv ct cv ta j4sty : bye ye ° i . » Qi FUP ee i ene ae Are as FF FG aia mee Si s 1 eg =) bite de i gg i DE 7 — | She E £ E ES gf: roof & FF ror a ain evant $.. evi ca vin we vn y evn ery : AlyEtude N28 Modéré iy care o— Heitor Villa-Lobos schig © 2000 C. Nelson -18- com redagoe deihaso suphEtude N29 Tres peu animé Trés peu animé Heitor Villa-Lobos Ix qu ov e1x— evil — \ CIV i) w >. cn y d+ jozt 1 dit x > 2 1: wha? 7 Dupo) Get ¢ ce ee Tos" see oT pope tempo a— on" OE , all, = oo ex {eV ev— gy — bee 2 ibe ao pbrps paps Dl > ps ow" wv F r ie a = “ ete Te Aine we Nv ye) 1 P+ ob _—< > D.C. ao signo aa vez) i z 2] @ ® civ — em — cn — a Nia Sy * com eda dei suplementares © 2000, Nelson +20- Se ; n OF 2 hh oe og ee og Pe Ee +8x eo —— 4, ——* = pia, SET LTE — pr BEE SEES Perm oem, *eees " = fs mer per veer | reEtude N2 10 Tres animé Heitor Villa-Lobos ‘Tres animé ee —— SS = SS P. A = i. TS el pay 2 i f “Ti t See tir cee SS ME 9535 B95) Fins Max Fh comet ees spleens © 2000. Neon -23-eel mann, Ena Eanes pio oe eee (ae Ea Zi Din ee, aa. Emm (Bae rans jEmls eae:Etude N2 11 Lent Heitor Villa-Lobos Lent Pitt mosso _ah. to z 4 ts x Ds ie $eam 6 i ee eae = te Bien chanté et trés expressif dans la corde pt tio t tae ° " Pit mosso me Gitsssssss ssssssss 3 $38 838 e T Pp 'P P P ve oft fz? ft MF. 9533 © 1959 Fons Max Essig ‘com redagao e dedilhagao suplementares © 2000 C. Nelson +27-. is = € iE F ; ; “OR F FOF FOF ¢ ft fz id fz fz fe (PEED mpm poem mem “FOF F F F F F FE oe 0s ce ce se ce 0s 00 ee ee °F ve f z E ap ve Pp i. oe —= SSS ee e :- a 48,8-3-$-$ 3-3 -$ 4 is a Cece fe P oP feP fe?ats dim. e rall <3leEtude N2 12 Animé Heitor Villa-Lobos Animé MEE, 9533 © 1953 Eli ‘om redo e ddilhagosuplene ipa fae evi ba 32 oat — bg 3 fis — Obit Pane oo . 2. i P: P _ ©Poo no $i gis — vig tos SS SS SS af—— %% 7% * F ~ ee eee Pid me?hiniiis Sinise | | | | | rl | al ctl qe = wy a hi ( » Ee Es : gil a= Ee = Le