estudiosencillos3-guitarra

8/7/2019 estudiosencillos3-guitarra

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NUEVOS ESTUDIOS SENCILLOSLeo B

Omaggio a DebussyTempo <II Gigll (CIJllIo<iO)

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Estudio 110. I

Esta colcccion cs para principiantes 0 nifios (pcqucfios).

I'cC]uciio~ nrpcgios (P. i, /II) Y facilidad de mano izquicrda.

l 'onc r a tcnc ion ell la din:illlica (-<: ~.).

C;]rilc!er legato.

1:1 t cmp o cs relative. J = 100 - 120. No muy nipido.

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~)llldy no. 1

• This coll::ctioll is for heginners or children.

• This study i;, for sh(lI t :II peggios (P. i, /I1j and developing left hand [acilir ,..

• Pay attention to the dynamic marking (-<:::: ::= - ).

. . r"Llintain a ICRa{() style .

I The temp a i~ relative. J - 100 - 120. Not too Iast.

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Estudio no. 3

ESllldiosollre

patl(lI1C~ rilmiCf)Safrocuhanos.

Dill;'lI11icas de oncla (-<::::. .-) y p ul g ar (mano dcrccha).

SI.lldy no. 3

J\ stlldy on ;]flO'ClIh;lIl rh ythruic patterns.

II :li';o cillpll;lS1SC:; wave-like u yn alllic s ( -: :: :: :::::>-) and the light hand thumb.

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Estudio no. 4

f: <; {u dio ~ ob rc c! pulgar.

M'l110 iz quicrda en l Ie posi cion .

COlltr;tstes din5111icos(fmarc. y p)

f lllj lo rt: ln tc g u ard nr fa s'a nic uf ac i6 nc s de staccato, lcgat a, y notas mas fargas y cortas (~ J )

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Sludy no. II

• TiIl'; i:; a study [or therigiH hand thum b (p),

• Till' Ie It hand is in second position.

• I )YP'I!11ic c'onlr;lsts (f marc, an d p )

••II i:; irnpor lalll to obxcrve (he articulatioll marks for staccat c , lcgnto, an a (h e longer and shorter notes (~ J

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fl1lolto -_•••••• Litlluio 110.5

• I'cqucfio trelllolo dc J notas (prcpntorio para ~ notas),

• Lsti lo m iniina lixt«con c x t cn si ou r- s tcm.iti cn «.

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Las pausas riunicas SOil r csonanci as . no s il cn tc s:

Atcuc icn a igualdad lk pulxac ion r iunicn (.i~ =).

••• Study 110. 5

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Ih;:; study ifnfo<!'flTS trcniolos of .111olCS(:lcling as a preparation for the more usual [ou r note version).

II ;s ill the m in iuia l ist sty le. w ith thcru.u ic c x tcnsions. _

Tile II()tes xl iou h! 1)<.:a l lowed 10 resonate through the rily tilm ic pauses, without any silences.

• Pay attCl1liOll 1(1 t ht: equ ality of therh)'llul1il' pu lse () =)) .

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• Fstudio no. ()

I ESle csuidio de nrpc gios rectos de J 1101:1:-;y c l pulgar cs scncillo, solo In scccion central -

c ornpuscs 22 al 29 ofrccc un cambia al rogistro ngudo (cucrdas primas).

IAicndcr las dinamicns "de onda" (-< ::;::'-) para hacerlas gradualmentc .. .

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La Formula del nrpcgio pucde invertirse (p. m, i). E]. J

La Iorrnula del arpegio pucdc ampli;JLse a 4 notas (p, i, III, a) con cucrda (I). Ej. 2

Study no. 6

This sim ple study is built up or con tinuous three note arpeggios with the thum b playingthe melody.

Only in the ccntr nl section, at har s 22-29, is the upper register (the top strings) used.

. . Make sure that the "wave-like" dynamics (-< ::;::,-) arc executed gradually .

ITile arpcgg io rattern can be inverted (p, 111. i). Ex. J

!The :lIpcggio pattern can he extended to (inotes (1', i, 111, a) by addiug the Iirst string. F..\. 2

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Estudio no. 7

1':11;\ las !loLlS r cpctidas. accntos y lil;'arlos.

U esquema de notas rcpctidas debe ~er tocado de ligcro a intcnso (mano derccha).

Ac c n tos salon mcjor iocando la nola dcspucs mas P. que tocando el accnto lIlas fucrtc.

Los compascs .'i y 6, asi C0l110 el I] son contrastantcs tponticetlo. staccato)

La sccciou [Q ]is p hacienda JFaCC(Jto la ult ima corchca de cornpas .

•Study no. 7

This study is for repeated notes, accents, and slurs.

The repeated note figure should be played moving [rom a light to 311 intense touch in the right hand.

Accents come out better by playing the following note more quietly,rather than by playing the accented note more strongly.

11:11 ":'5 and G aswell as bar 13 should be contrasted with the others by the usc of ponticctlo and staccnto,

Sec(ioll [ I l li<.p. with the las: quaver of each bar (0 be played 5/llccaln.



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[studio no. R

Para acordcs arrnonic os y pcquc iia "ccja".

Esrc cstudio puede tocarsc en los prirncros grades. alcnnzandn la pcquefia ccja.

Los armonicos naturales son rnuy Iacilcs y pucdcn anticiparsc en c! progreso curricular,afradicndo intcres coloristico.

•La pcquciia ccja solo ocurrc en II, IV YV posicion co n lo s c.unbios de posicion prcparados .

Study no. 8

1\ ~,tlldy for chords, harmonics and the partial barn'.

This call be played hy c lcmcntary studc1Its who arc able to m an ag e a partial borre,

Nailiral harmouic s arc vcry easy ;111dC;1I1be learnt ,I t an earlier stage than usual here, so. as [0 add colour.

The pallial/wlu: is only cmuloycd ill II, IV and V posuioris. and with the position changes prepared.



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Estudio 110. Y

[:< ;fudio sohrc cl legato m c lotlico. P ara lus m clodias quebradas .

En O T I~()II Irascs de 2eOIJlpa:;cs ell -<::::::::: : := :=-- .(l0fd

A lp in salto (comp ascs f a! 6; Ie) al 17 ; 18 al 19)flO impidc cllcgafO rnclodico.

C<'IIIO dificultnd no pasn de V posicion,

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The object oft l I i s study is tn 111 : 1 i l 1 ( ; l i l 1a /cg!lfo l in e in:l m elody w hich often m oves aroundi ll irJps.

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At i l lJth ere arc phrases of 1\'.'0 b:ll:' w itll w av e- lik e d yn am ic s (--=: : : := :=-- ) .poco

The k\\' ch:lllFes or p() sitioll (iJ;1I S S-(j; 16-17; 18·19) should not be allowed (Q alfcct the Illclodic lc o a t «» .

'111C tcchnic.rl dCnl:1l1ds do no t lequire going beyond V position.

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I ESIUdio 110. 10

,F~I(' ('sludio sc conccnira ell las cucrdas graves, li[!ado.s y altcrnanciad,. l' (1'"1J'~r) COIl i , 111 (0), (lbiir:llldo a fa 1l1:J1l0 dcrccha a anicular Cil "bloquc",

1.(V; ' ) C(]ll1f':l~CS de [~ l y los Gde: flD pucdcn rcpctirsc cnda 1I1l0 c onsecutivnrucntc".:1 pniodl' cornp lcto ad lib.

11:1)'I-CCtlIV)S compositivos C0l110 "caesuras" corm s (') y brgas (G.l'.) que: resulian p oco u su :J lc s

para principiautcs: rognmos al profcsor los e.plique. vale.

1.:1 violcuoin de los arordcs pcnnitc "Igun color distintoy staccato de izquicrda (levantnndo la ccjitla.10 c',allc laj a la i7 .q ni(,lci:1tambicn. Lsta Iccnica cs poco cornun en In lecnica tradicional pcro sc lcl'11ClIt:lltra IT lllcltas vcccs enal jazz.

S t u c i y no. 10

T"i~ ~tndy conccnuarcs on lire lower strings, slurs and I I le a lt ernat ion o rp with i, III (a).

Th e I) 11 : 1 I So r0 and the ()o r[ill ca l l be repealed; either each oneconsecutively, or the cntirc period ad lib.

llwfi.· :IJC "C:lCSlIT:IS", both short C ) and long ((i.I'.), which ~IC p cd la p • .unusuu] [or bc guuier s.TC;ICIICI'; wil l e xp la in .

Till' '.· ;"I('(\cc or the ci, ," ds I"<lke' 1 '0 ,: ;;1>1<:lltr \lSC O rsomr dixtinctivc lone colour. as \vel! as for left 1t~J1d

\ill«(·"in. (Th(' l:1ic .il1P o r th r 1,(Ir,. ,: ill 1,,,,due'lIl/, Ihis J((]CC(I/O :ilsn relaxes the left hand.) This is a ! J i tuuusua]I I ,·C 1111~': I:" . I .o t ;I •• ' I. 'I q·:t"d ill 1:17"" . .

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