Etude Annotations

8/13/2019 Etude Annotations

1/6

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.


2/6

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


3/6

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.


4/6

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 meansp, one dot means i, two dots means m.


5/6

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


6/6

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.

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Etude Annotations