SE ge & edd by 6. ion‘The Guitar Studies of Heitor Villa-Lobos ‘These twelve studies are copied from Editions Max Eschig MLE. 9333 © 1953. By virtue of their being copyrighted and also easily available from the publishers there seems little point in creating a new edition such as this. ‘The reason that | did so, however, is that the Eschig editions, which probably came more or les directly ftom the hand of Villa-Lobos himself, contain almost no fingering indications, The material, while not particularly difficult, does range all over the guitar fingerboard in such a way’ a8 to make it very challenging to play on sight. The best fingering is not always obvious in these pieces. Even itfone makes the considerable effort required to work it out, the result is likely to bea very messy copy of ‘The fingering I have added is that which I fel to be useful to a broad range of guitarists, leaving out only very natural or not particularly important usage for the left hand and providing atleast some indication of that fr te right hand. ‘An additional factor which led me to copy these studies is that of certain conventions followed in the original editions. One of these isthe very frequent appearance of unnecessary sharps, fats and natural, This can be disorienting. The usage of “courtesy” accidentals is unnecessary if one follows the usual rules of key signature and employment of accidentals. Where courtesy accidentals do appear warranted, they may best be enclosed in parentheses io eliminate possible confusion. Ihave removed redundant accidentals except in very few eases and have parenthesized the exceptions. Another convention, suliciently confusing to eause comment on ito appear in both introduetions and appendices to the Eschig editions, is that ofthe notation of harmonies. Rather than propagate this non- standard and occasional inconsistent notation I have replaced it wth notation [fee to be most literally accurate. The tone actually to be produced is shown. That itis a harmonic is indicated by a diamond shaped note head along withthe fret position at which the string should be damped and whatever other Fingering indications might seem appropriate More a lack of convention inthe source edition is that of inconsistent usage of repeats. There are several cases in these studies where one or many measures of music are re-printed when this could have been avoided by application of standard repeat notation. Such repeat notation is used in many cases in the originals but consistent application saved a few pages and clarified the form of several ofthese studies. A final factor, which seems not a major one in these editions, is that of simple errors in notation oF printing. ‘There are not many, but there appear to be a few. Correcting probable “errors” can be a dicey business. In some cases I have made changes and in others I have not. Among the possiblities I 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 #4; $4, 55 and 56 of #7; 39 of #8; 17, 20 and the next o the last of #12 have propagated all articulations, dynamic expressions und other comments more or less exactly as they appear in the source edition, In few cases I have added my awn comments, mosty for repeat instructions and clarifiction of fingering. I chose to add these in Portuguese mostly on a whim, to add seasoning tothe mix of French and Italian already in use inthe source, but party in tribute to the native tongue of the composer. =€.Nelson Santa Ynez Valley Preliminary edition — August, 2000CONTENTS Etude N® 1 (des arpéges) Etude N° 2 (des arpéges) Etude N® 3 (allegro moderato) Etude N* 4 (des accords répétés) Etude N* 5 (andantino) Etude N® 6 (poco allegro) Etude N° 7 (trés animé) Etude N*8 (modéré) Etude N¢9 (trés peu animé) Etude N* 10 (tres animé) ‘Etude N* 11 (lent) ‘Etude N* 12 (animé)Etude N21 Etude des arpéges Heitor Villa-Lobos Allegro non troppo 2 simil com a mio esquerda descendo MAE, 9333 © 1959 Editions Max Esc com eda edeilasto suplementares © 2000 C. NelsonEtude N22 Des arpéges Meio Vit-Labos Allegto Gite =F ;2 cu = : . ae ris f s vv cv ssaEtude N23 Allegro moderato ettorVille-Lobos Allegro moderatoete ® ig te eS sta: = ——— 1 ent hes he 5% £6 we "rllEtude N24 Des accords répétés Heitor Villa-Lobos Poco moderato ev— an om arene evi evi — ae fd simil mao esquerda iol £ 3 & ‘E £ chee peit ie ME. 9533 © 1953 Editions Max Eshig com rodaeo¢ ddilagaosuplementares © 2000 C, Nelson oTEtude N25 Andantino Heitor Villa-Lobos Vv ally = a eee a eee coe = =$ sg te STS == “ fF b t e t op Er Se So fata! pa 2 yp $ 6 = ae ra @—— ew yp be eae P ba $2.0 gy om ge rae om tre try O 5 > Pie bg ae 5 ede wee sur le chevalet SfEtude N28 Modéré Heitor Villa-Lobos rR Pe? “Gnimando — ise Ocean c c a O48 ME. 9593 © 1953 Batons Max Esch com eda ededilaeiosuplamentares © 2000 C, Nelson -18-ce a —— 8 , “nee 5 2) et 7 ; Oo = zs 52 Gi is ‘motto rat, “Oo eeEtude N2 9 Trés peu animé ‘Trés peu animé Heitor Villa-Lobos TDrD ex — ev —ev—tw— vn — ev—arw— cu — gute? + ata ee = 7 ~ = r c x vn — ev ox o— : 7 re pai Db d? tempo — evn ex ev — gy _ o oe eee 7 d 7 P 4, oi > 1 iD the 7 aa are ME. 9333 © 1953 Editions Max Esch com tedago ¢dedilasio suplementares © 2000C. Nelson -20-Etude N2 10 Trés animé Heitor Vita ‘Trés animéoe ET FE Jo, Eas, ————— rs = ra an eT So, oe 5 : a — a Tes mao oe AD irr! sien, mz Aon com, Dz, pian ant Ez soEe my TIPrep eRrre oftEtude Ne 11 Lent Heitor Villa-Lobos sas ahi bh Bien chanté e tres expressif dans la corde t cm Lent ote ee eee 7G a #HS ‘a 2! area + Animé 7 eres See eereeers , fe? off? MAE 9333 © 1953 F= Se aaa seo Fe of fe FO geiam= | fz P #86333 Po gh? é 2 é ie 2 2 f 3 S252 Sf Fss= , 8-8-3838 9 ee >Etude N2 12 Animé Heitor Villa-Lobos2 ste! see [pa qv ou ® av auvee s1 = segs Sa a EF hn + = died — Shihcr rrerreeree, save an din Ae b SSF eet ae fp