2 tudes Esquisses For Guitar by Gerald GarciaMel Bay Presents Efudes Esquisses for Guifar by Gerald Garcia 1234567890 © 1995 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069. ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.|. MADE AND PRINTED IN U.S.A. ‘No part of this publication may be reproduced in whole or in par, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher. Visit us on the Web at www.melbay.com — E-mail us at email@melbay.comContents Roreword sis c:2 cassis aie semis cee ees arm sone mieiecminee wins ote sioye ie aime asi eee alae 8 5 Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Etude No. Gerald Garcia Summary Biography. . . DU Seies trea Ma yeas so st tesa as-is pa ehaee ae = setae ot Sear fe gotetet of a's” early wane atts rate 60Foreword These Etudes were written with the intermediate guitarist in mind, and are supposed to be graded from the third year of study upwards. Many techniques are covered, and the later etudes could also be used as concert pieces. In fact, the final five are a set in themselves, each showing a facet of Latin American music and dedicated to a particular composer. The Etudes as a set were written in a very short space of time (one a day!), but were extensively tested by friends and students, especially Alison Bendy, without whose expert editorial assistance this project would not have come to fruition. The set covers roughly the ground which Carcassi’s 25 Etudes cover, but in a slightly more up-to-date idiom. They are meant to be fun to play, and it is my hope that they will provide a musically as well as technically nourishing diet for all aspiring guitarists. The emphasis in the first ten Etudes is on attaining a stable right hand through the use of different patterns for p, iand m. Slurs for the left hand are also introduced in Etudes 4 and 7, while Etude 6 affords the opportunity to practice portamentos and glissandi. The Etudes from 11 to 20 exercise the afinger of the right hand, especially in combination with iand m (Etudes 11, 13, 15 and 17), and also concentrate on more advanced left-hand slurs (Etudes 13, 15, 16, 17, 18 and 20). The tamboras in Etude 15 may be played at the bridge or on the fingerboard (slapping the strings against it) according to taste. Etude 12 is a study for balancing chords under a melody, and Etude 19 is for the alternation of i and m on adjacent strings. My fingerings are offered only as suggestions throughout the Etudes, but students are urged to consider the rationale behind them before throwing them out! Gerald Garcia, Oxford 1995 These studies are what all students should be but usually are not: they use and develop specific areas of technique in a most musically imagi- native and pleasurable way. The more traditional study collections usually take a single technical pattern for each study which then become like extended exercises. Garcia’s studies give the same benefit and also give you pieces of music John Williams, July 1992 Music Typesetting: lan Baldwin and Gerald Garcia General Editor: Alison BendyEtude No. 1 Gerald Garcia 1992 Marcato FL Pope Eph te £ a r fn Dolce e sostenuto ‘4 3 rall. A subito a Tempo crescendocresc. sempre is) = f ———— =p L'Amour Soucoupier Etude No. 2 Moderato Gerald Garcia 1992 1 2 4 rall. 3 3 p—— of ——_ rl Pavane pis-aller SB os IEtude No. 3 Gerald Garcia 1992 v Donan Vivo ed estatico 3 0a i | | Perrier! tf £77 | Calmato rit, 30 Es f fn mV {VE Catando Subito energico e forte 30 1 3 O- -3 0-1 -3 0-1 Flocon de NeigeEtude No. 4 Moderato Gentile Gerald Garcia 1992 = pees = aera 4 Ji dell < pg ag a ge P Fp ; Vv mppoco rit poco rit. HX Ly © ® — oe Les Ajoncs d'OrEtude No. 5 Allegro assai Gerald Garcia 1992 marcato il basso“PT pit ire ... Voiles rouges dsEtude No. 6 Vals Triste Gerald Garcia 1992rte Aprés midi d'un CafardEtude No. 7 Gerald Garcia 1992 Allegro vivace pp eS ie = # : E sa is: aEtude No. 8 Tranquillo Gerald Garcia 1992 pec ai. lo subito Pr op. We Te 17 Entre-maestroEtude No. 9 Allegretto Gerald Garcia 1992 2 1 14 3 3...Les Grandes JaunesEtude No. 10 Andante Mosso Gerald Garcia 1992 LV. sempreLes Avocats Mystérieux 21Allegro comodo Etude No. 11 Gerald Garcia 1992 iw aos eer | ss —1 = a | : i a se SSS ott fi. mm a eo poco rit.2 ° 3 dim.sempre it.molte He ... Vert dansant 23Lento piacevole a4 Etude No. 12 Gerald Garcia 1992 dFoor ity — s g $ Fy ... Coeur de la Rose Etude No. 13 Allegro Vivace Gerald Garcia 1992 = = — =~ | ~~ ss! aN,rp OF pias >: 22S = ie oe | Aietig spe Dee ee = = = . oe } az = aS ie oe re 2 i P 7 Vy Mp dB Be oe : # pl pee TS == ol=u ~~ oO bend ...Bleues Volantes 27Etude No. 14 Lento e ritardando Gerald Garcia 1992 LV. Sempre hich r 7 Troe 2 oo 6 al Coda a tempo r ee L —__ > L.V. Sempre poco piu mosso ——_~__ ——_ 2 Ger ee — A pe Pip eae te eee v ae Sr ooo Calmo D.S. al Coda. ® (SS aS Att a Uv 4 Rit. molto z ea. oN —— PP. J) I'Indigo seul r 28Etude No. 15 Andante espressivo Gerald Garcia 1992 tambora 4 es : 2 4 a Allegro Vivace 29a | Terre Noire 31Etude No. 16 Gerald Garcia 1992 Allegro Scherzando pene Pay ee —S Im 10 510 LS AN A PS, EN ES es AS RA Scorrevole om Ea — a = 32stringendo oN poco ral. wea Tempo primo Portrait d'un Viellard 33Etude No. 17 Vivace e ritmico Gerald Garcia 1992 oN os i 4 Gis == 9g is r » PSN N Qs : o o____ cy a ry —— TournesolEtude No. 18 3 Allegro vivace Gerald Garcia 1992 3 3 % ‘ 2 e a . rz 3 Pitt calmo —_— D.S. al Coda — 3 L.V.sempre - molto rit.Etude No. 19 Giocoso 7 Gerald Garcia 1992Les Moulines MariniéresEtude No. 20 Allegretto Gerald Garcia 1992Prés de lui 41Etude No. 21 Valse Lente Gerald Garcia 1992 CVvii 00 © © 3 SII TTS “Yq aI al Segno § D.S. % al Segno § La Ultima volta al Coda + § SegnoEtude No. 22 Allegro di Antonio % Gerald Garcia 1992 OxfordD.S.%& al Coda @ rit. Cafe VenezolanoEtude No. 23 Gerald Garcia 1992ie por HF HVIL Td ba as Ai 37 pi cS he ee “yee ddd fe V “5 % nat. a HV va a tempo = loco 34 poco rall. —————__ mf sub. LV. =accelerando Vivace con fantasia heheh Pe sbeshcsbcslestackests 8 Z 3 tempo primo 2 ig ple rall.k& % : § 2 § 3 & & g 5 § = XQEtude No. 24 Gerald Garcia 1992 Lento di Milonga BI L.V. sempre 4 1 003 2 s 2 400 3134 1 2 240 32 4301 21209 2.4 4 14 rit. molto a tempo poco a poco al CodaDS.%& al Coda @ m-o-r-e-n-d-o rall. molto 2 ille AngesEtude No. 25 Gerald Garcia 1992 Fugatangopiu calmo tempo primo poco accel. aa b 2) flmolto cresc. poco rit. stringendo tempo primo pizz.--- nat. ff Astoria 58