Lucas Carneiro Guitar Pedagogy Professor Kate Lewis December 4, 2013 Etude Annotations Leo Brouwer Etude 1 This

study emphasizes alternating the thumb bass notes and open string chords. The bass line should be prevalent and played as legato as possible. Special attention should be given to the contrasts in dynamics. Etude 2 This is a slow chord study. The student should strive to create balance between the open string notes and fretted ones. Phrasing should push toward the first beat of each bar. Plenty of dynamic markings serve to illustrate proper interpretation. Etude 3 A fast repeating right hand pattern study. The time signature should be noted and emphasized in the phrasing. Each dynamic marking indicates the beginning of a new phrase. Notes should be smooth and connected. Etude 4 This is another study where the bass line carries the prominent melody. The two time signatures combine to create a sense of continuity and drive. The student should give extra attention to the transitions into and during the barre.

Etude 5 To achieve desired syncopation the student should be mentally subdividing the rhythm in sixteenth notes throughout entire piece. Practicing slow at first then gradually speeding up should help ensure correct rhythms. Bass notes should be held for their full value. Etude 6 Repeating arpeggio should be practiced and mastered first using only the right hand then later adding left hand. Student should practice changing chord simultaneously with the attack of the pulgar. Bass notes should ring into each other. Etude 7 Tempo marking indicates as fast as possible which means to start really slow. Lines should be as legato as possible. Phrasings and dynamics should be shaped to climax toward the lowest notes in each run. Etude 8 Special attention should be taken in executing the cannon. Both lines should be practiced independently then sound distinguished when played together. The B section should be faster until the decrescendo which should also be ritardando. Etude 9 Accurate and equal length of notes should be used to emphasize syncopated rhythms. Bass notes should ring for their full value. Dynamics should go from louder to quiet beginning with each low bass note. Etude 10

Should be fairly straight in rhythm. Rests should be noted to accentuate punctuation in the piece. Differences between staccato and legato parts should be emphasized. Fernando Sor/Segovia Etude 1 Slow chord study with introduction of eight note rhythms. Difference in character should be heard in middle section. Special attention to dynamic markings Etude 2 Used to train dexterity between pulgar and indice. Distinction between melody line with stems up and accompaniments should be achieved. Should practice slow and gracefully. Etude 3 Good for reading in the key of A major. Melody should be prominent and louder than accompaniments. Can be interpreted as AABA form. Etude 4 This is a study intended to train the right hand thumb. Bass notes should be as legato as possible and convey a driving melody. Accompaniments should be lower in volume and short in note length. Etude 5 There are two lines that should be paid attention to: bass line with pulgar and the melody line with stems up. Melody stays within arpeggio so the chords must be clean and with seamless transition.

Etude 6 Stems up melody line should be legato and smooth. Special attention should be given to rests in bass line. Practice melody line alone and muting bass notes. Etude 7 Good study to learn how to play lines in thirds and sixths. Tempo can be swayed to convey urgency during phrases. Follow right hand fingering in the B section. Etude 8 Should be slow and clean with good balance between bass and chord melody. Phrasings should move toward each downbeat. Follow left hand fingerings. Etude 9 A chord study with an upper melody line. Good balance in the right hand should be emphasized. Be aware of rests and note values to add punctuation during the piece. Etude 10 Thirty-second note pattern in the right hand should be mastered separately. First half of each bar should be louder and follow dynamic markings. Second half of each bar should stay in background. Matteo Carcassi Etude 1 A first position scale study. Phrasing should move toward the lowest note of each scale. Note on right hand fingerings: x means p, one dot means i, two dots means m.

Etude 2 Beginning right-hand pattern in the beginning should be continued throughout. Slow practice at first to ensure good tone. Shifts in the left hand should be seamless. Etude 3 Melody with a finger should be loudest, then bass line, then accompaniments. Dynamics should crescendo toward the end of each eight bar phrase, then come down again in the last bar of each phrase. All notes should be seamless and legato. Etude 4 Right hand pattern should be practices and mastered without left hand at first. Practice slowly and ensure good balanced tone between all fingers. Bass line should be prominent and carry the phrasing Etude 5 Note right hand pattern and use it where appropriate. Bass line should be prominent melody. Counter punctual melody on the off beats should also be distinguished. Etude 6 Half notes should be clear and held for their full value. Right hand fingering should be followed. Use dynamics to convey different characters between sections. Etude 7

Bass line played with thumb should be practiced separately. Bass line should be foreground and accompaniments background. Ensure good balance and even tone in the accompaniment notes Etude 8 Good etude for introducing slurs. Bass notes should be held for full duration. Good study for reading in E major. Etude 9 Notes on the downbeat should be played together. Upper lines should be the foreground and lower line accompaniment. Special attention to the changes in key signature. Etude 10 Great study to practice alternating between triplet rhythms. Should strive for accuracy in notes and shifts before speeding to Allegretto. Triplet should be subdivided throughout.