CGRocks Study Guide

Etude No. 4
Heitor Villa-Lobos

www.classicalguitarrocks.com
 Etude No. 4 Study Guide
By
Rhayn Jooste

© Rhayn Jooste 2019

All rights reserved

Unauthorized copying, arranging, adapting, editing etc., are prohibited.
This edition contains new material.

Rhayn Jooste has asserted his right to be identified as the author of this Work in
accordance with the Copyright, Designs and Patents act 1998.

First published in 2019 by

FreshAir Publishing

www.freshairpublishing.co.uk

quote on page 4
courtesy of
Etude pour la Guitarra
(1928 Manuscript)
Heitor Villa-Lobos

Etude No. 4 www.classicalguitarrocks.com 2

 Welcome

Hello and welcome to this series of free in depth guitar study guide lessons from
CGRocks. This is part of the #villalobos12in12 challenge. Each lesson has been de-
signed around the concept of micro studies – short essential etudes which assist and
accelerate your learning process.

Each micro study has been well-organized around the piece’s structure; so you will
walk through the music with the micro studies. They will focus on whatever is techni-
cally relevant to that section, be it a barre chord, guide fingers or shifts. Each has been
carefully chosen to aid getting the piece up and into the performance realm as soon as
possible. In the case of any etudes the micro studies will support the technique con-
cerned, by making things explicit and clear.

Think of these guides as the opportunity to sit down with a guitar teacher and have
them walk through all aspects of the music that you need to be aware of and approach
differently. But instead of an hour’s lesson you get to keep the information and pore
over it when it suits you. Each one is generally supported by videos, you will find the
links at the back of this guide. Along with links to loads of other great free content.

Right, let us dive in.

This study is one I have slowly grown to love this last month while
digging under its hood. It is beautiful in an impressionistic way that
reminds me of the cubist paintings by Picasso. It is not one I looked
at before, except very briefly a few years ago, due to being put off by
the shear amount of mental energy required to decipher all those
chords. But having done it, I can tell you, it is worth the effort for
the stunning harmony within it.

hat all aside, this etude will sort ot your RH touch mechanism
properly.

Etude No. 4 www.classicalguitarrocks.com 3

 Study Guide: Etude No. 4
Heitor Villa-Lobos

            
     
         

Villa-Lobos’ Etude No. 4, from his opus of 12 etudes, is a chordal study with a
repetitive RH pattern. It will build the RH stamina, and touch mechanism; along
with LH economy of motion, and introduce modern harmony. It is very ap-
proachable, and with it we begin to look towards later studies such as no. 10, 11 &
12. It is possible to learn this study in the same manner as No. 1: hands separately.
There are few RH suggestions, unless deemed essential for clarity, as for the most
part you will be playing P I M A fingers through out.

This study guide is designed to help you dive into and learn this fantastic piece of
music through micro studies. You will tackle the piece in small chunks, success-
fully completing each one’s technical focus, and then adding that new knowledge
back into the piece. This method is proven to get the piece up and running faster
than wrestling with the dots straight away and slogging through the stems to find
the notes. There are 5 stages to learning this piece and they are:
• The first step will be gaining facility with repetitive RH patterns.
• Learn a section (micro study) at a time, finger choices first, then cement in.
• Identify common chord shapes.
• And finally the coda section with its chords, harmonics and ostinato bass.

One thing to note Villa-Lobos suggested, in Abel Carlevaro’s manuscript, taking

advantage of the open strings, where possible. So use my fingering as a starting
point to formulating your own.

Once these main stages are under your fingers you will be able to play this piece
with confidence. Making it music is a whole other story, and one that will be
personal to you. One final note. Do not expect to being able to play this in a few
days. Each one of these stages will require time, to get into the nervous system
and muscle memory before being performed up to anywhere near full speed.
So have patience.
Etude No. 4 www.classicalguitarrocks.com 4
Micro Study 1 - open string chords
               
     
















             
a
m
     
a
m
i
       
i
p p
0 0 0 0 0 0 0 0 0 0 0 0

 
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0

         
                         
   
a
m a
m
  
a
m      
i i
p i p
0 0 0 0 0 0 0

 
0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0

             
    
a

       
m a a

   
i m m

       
p i i
p p p
p p

0 0 0 0


0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0

There is a lot of RH repetition in this study, and this requires a solid RH touch.
So here are some general pointers to achieving clear tone.

• Use planting - touch then play.

• Movement is from the large knuckles.
• Even tone across all RH fingers (no one is louder than another, unless by design).
Due to the extensive RH repetition, it is possible to simplify the bars utilized
within this study into 5 general patterns. The RH touch, planting, can then be
practiced separately while you learn the chords and their progressions. These pat-
terns can be practiced as whole bars or as beat pairs. Gain facility with these and
you will ease the technical burden whilst learning this piece. There are melody
lines buried within the chords, so once you have control over the even tone, start
to bring certain fingers out (this will be discussed later on).
Generally the patterns use P I M A, however the last set uses 4 fingers across 6
strings. This means that the thumb will be playing 3 bass strings together. This
will require some control, as they will need to sound simultaneously. Again this
will help with later studies, such as 11 & 12.

Etude No. 4 www.classicalguitarrocks.com 5

 Moderato q = 100

Micro Study 2 - chord shapes 1

    
CIII CII

   



     
   
4 4 1 1 1
4


1 2 2 2

  
4

 
1


3 2 4 1
3

1 2 2 3 3
1 2


0 0 3 3 2 1 0 1
0 3 0 1 2 4 2 0 2
0 4 0 3 0 3 3 1 0
5 0
3 4 3 0 2 4 3 2

 ramp
Welcome to the first set of chord shapes for etude no. 4, they begin easy and
 4 here, as
CIV
4
 43 upto complex.
 
 43 Slow  is key this study requires agile
CIII
then and steady
   
3

  at2 once.
 1 Themain    here      
3
changes, goals are: 2

  fingers,
 no flailing.
2

  
2

• Control LH 
2 2
• Common fingers, keep them down. 7 5


5 5 2 3 5 4 4
• Use finger combinations, ease the shifting, bar 2 (see below focus section).
5
4
5
3
4
4
4
3
4
3
5
4
5
4
0 0 0
3 3 0
• LH finger choices, good choices that facilitate easy shifts, bar 3 beat 1 to 2.
One of the first challenging changes has been brought into focus below. Here
the use 1/2CV
of LH fingers 2 & 4 have 1/2CVI
been highlighted to show how their shape is
    4 into the 3next chord.
 1   
3 thischange
1/2CVII
  
1 focussing

1/2CVIII
 3 on
    
7
transferred Chunking up, and  in 
 2in an easier shift.

 result    2
4 4 3 4

  LH
certain  finger pairs,
 will Concentrate on LH fingers 
first, then make sure that your RH uses the same fingers for each stage below. The
RH should not move position throughout, you just select the correct fingers for
8 7 5 9 7 10 9 7 11 9


each stage.
5
5
5
5
5
5
6
7
6
7
7
7
7
7
7
7
8
9
8
9
5 5 5 6 6 7 7 7 8 8

This focus section has been broken up into 3 stages.

Stage 1: fingers 3 & 4 - getting their shape securely shifted across.
Stage 2: adding in finger 3 - make sure it is already pointing up before the shift.
all
  
Stage
1/2CIX
3:
  

fingers 
2
back 
in,
1/2CVII

1/2CVII
2 LH pivot 
on 
21, with
 RH
1/2CV
4 full 4  4  4
compliment
     
8
   
4


2 4 4
2

    
2

      
2 (1) 3 3


3 3 3 3

1   1 (3)
 Stage 3 1
Stage Stage 2
        107   87  86  85   65  66 
7  77  70   0  00 
CII CII

   0
12 10 10 8 6


 0 

 
9 a 94 9 7 5

0   
4 4 1
9 m 92 48 9 2 7 2
9 7 4 5 4
i 2 0 2 4 2

     
p 8 0
3 1 3

     
  
3 3 3 2
2 4 2 4 2 4
3 3 0 3
4 2 4

Etude No. 4 www.classicalguitarrocks.com 6

 3
5
4 3 0 2 4
0
3 2

Micro Study 3 - chord shapes 2

   
CIV
4
  
   
CIII


4 3

         
4


4 3
2


3

  
3 2

 
2

 
1 2

2 2
7 5


5 5 2 3 5 4 4
5 5 4 4 4 5 5
4 3 4 3 3 4 4
0 0 0
3 3 0

Micro study 3 is the next 3 bars of etude no. 4. This is one of the places where
it is possible to use open strings, bar 4 beats 1 & 2. I have chosen not to for tone

   note
continuity
1/2CV


sakes, but the choice
  
is1/2CVI
yours. Again 
like
1/2CVII
thelast 
micro study,
1/2CVIII
 3
make
 2 between
 chords,
 and  leave   down.
 those
7
 of thecommon  fingers  Main
4 3 1 4 3 4 3 1 4
careful
            2 
tips here are:
• Find, and practice around, common fingers.
• Fast
8 shift from7 full barre
5 to half
9 barre in
7 bar 5,10
guide finger:
9 2.77 11 9

• 
5 5 5 6 6 7 7 8 8
5 5 5 7 7 7 7 7 9 9
5 5 5 6 6 7 7 7 8 8
Thumb will require agile movement, and rest stroke, on low E.
This micro study is also good to begin highlighting a melody line. Even though
there are just block chords, Villa-Lobos has carefully thought out the melody,
 4  2  4 that
 finger,
see below.
1/2CIX Try and bring 1/2CVII
 
line
out as you play the
1/2CVII
 
1/2CV chords. Generally it is all

 2 4  4 trick.
 more
   so a little  23 energy
    2 it would normally do the
8
       
2 4 2 4
A directed towards 4

     
However you could also experiment with the RH angle, old school/new  
2 (1)

3

3

to

3 3

 
3
school
 
see which suitsyour personal style.
 1 (3)
 1
  12 10  
 87      65   85   65
  99  99 0 
10 10 8 8 6


9 7 7 6 6
8 9 7 7 7 7 0 0
9 7 7 0 5 0
0 0 4
0 8 0
Even though this fragment is short, the ideas and more importantly the intervals,
do reoccur through out etude no. 4. So use it as a template to guide any phrasing
ideas you wish to explore.
Below is the usual short pause and consolidate advice for what you have learnt so
far. It holds true for each big segment you complete.
• 1 bar at a time, be clear on fingering and any hacks before practicing in, no rhythm
to begin with.
• Chunk into small segments of a beat, then practice: beats 1 to 2, 2 to 3, & then all.
• Take a short break, come back and double check that is all secure. If not repeat
above. Then put bars together, 2 at a time and build up from there.
• Slowly with rhythm – use eighth notes to sixteenths.
• Metronome on: as above in time, eighths to sixteenths. 3x perfectly each segment.
Etude No. 4 www.classicalguitarrocks.com 7

4 3 4 3 3 4 4
0 0 0
3 3

Micro
0


CIV
4
 Study4 - chord  

 shapes 3 
CIII


4 3

         
4

 
4 3
2


3

  
3 2

 
2

   
  
2

  
1

      
1/2CV 1/2CVI 1/2CVII 1/2CVIII

 2 
7
 2        
4 3 1 4 3 4 3 1 4 3

 5   2   7 5 
2 2


5 3 5 4 4
5 5 4 4 4 5 5
4 3 4 3 3 4 4
0 0 0
3 3 0

8 7 5 9 7 10 9 7 11 9


5 5 5 6 6 7 7 7 8 8
5 5 5 7 7 7 7 7 9 9
5 5 5 6 6 7 7 7 8 8

Above 
is
1/2CV

4micro study 
4, and  4 ideas
it isa4 series3of chordal
1/2CVI
 
3 that
  4

1 Villa-Lobos  3moves
1/2CVII 1/2CVIII

        
7
    with
in  2
 increments.  It is the
 same halfbarreshape
3 1

upthe fretboard
  semi-tone 2 but 
 4  added
  to keep in mind
various fingers
1/2CIX
 1/2CVII
4 2  4  2
to colour the chord, major to minor with suspensions. Main
 2
1/2CVII 1/2CV
4  4  4
 23here:
3    32 
8
  2 (1) 
2 4
ideas
• 
  4 shifts: frets 5 VII & 9 VIII 7 
3 3
 77   
 
3
Only V, VI,
5  7
8 7 10 9 11 9

   
5 5 5 6 6 7 7 8 8
5 5 7 7 7 7 1 (3) 9 1 9
• Half
5
barre does
5
not need
5
a lot of
6
pressure
6 7 7 7 8 8

• 5/4129could109be subdivided
10 8 into a 10
3+2 (3/4
8 to 2/4)
8 6 8 6 6

 Study 50 - chord
Micro
9 7 7 7 6 5 5 5 6
9 9 8 9 7 7 7 7 0 0 0
9
0 shapes 4 0 7 7 0 5
4
0

 
8 0

    
 
    
    
1/2CIX 1/2CVII 1/2CVII 1/2CV


8
  
4

 
2 4 2 4 2 4 2 4 4 4


2 2

    
 

2 (1) 3 3


3 3 3 3

   1 (3)
 1

12 10 10 8 10 8 8 6 8 6 6


9 9 9 7 7 7 6 5 5 5 6
9 9 8 9 7 7 7 7 0 0 0
9 7 7 0 5 0
0 0 4
0 8 0

Micro study 5 above uses the same idea for bars 8 & 9, it is a chord series. So
once you have learnt the first bar, shift the idea down 2 frets. And be aware of the
different bass lines. Bar 10 is important as it sets up the first big “event” in this
etude, hence the reason the surface patterns alters slightly. Main ideas here are:
• Use guide fingers and common fingers to ease shifts.
• Same chord shapes, just different basses, a tone apart.
• C maj chord can be a barre at fret VIII, with a hinge to play open low E.
• Use the rit. in bar 10 for effect and to make it easier to execute (see score).
On the next page begins, what is now a classic Villa-Lobos musical move, a series
of the same chord shape shifted up and down the fretboard. The intervals he
exploits here are the fifth, and then a tone and a fifth. Again, play the top line only
to get a sense of what he was after, see page 15 for more details. Plus it will help
memorize this section.
Etude No. 4 www.classicalguitarrocks.com 8
 Micro Study 6 - min7b5 shape part 1
Micro study 6 is bars 11 to 13 stripped
      
Pattern 1 Pa
of all but the essential harmonic info.
     
This will help with learning and see-           
ing what Villa-Lobos is doing on the 
fretboard. In essence it is just one chord
shape moved up and down, from fret 2 0 0 0 0

  
0 0 0 0 0 0 0 0
to fret 19 (high B). See TAB for more RH 0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
detail, and the score for complete clarity.
Below is the chord shape, with just the melody & bass note on the stave. Both
can used to learn, and memorize, this section. The chord shape is a modern
minor7b5 sound, a favourite of impressionistic composers such as Debussy and
Ravel. It is also a staple shape for jazz. And willF©‹7(b5)
pop B‹7(b5)
up again in other
E‹7(b5) studies, so
A‹7(b5)
7fr 5fr

get used to seeing the shape in dots. If you need 1234to just1234follow1234
the chord shapes up

 
 then go
1234
the fretboard, which is easier however it is 11also good to back to the score
 
and read the dots.
  

Play through the section, using fingers 2 3 4 as guides, with just  the chord shape 
- no rhythms. Then add in the simplified openPattern
string pattern above, which you

    you   55  1010 1010 33  33  88  88   

Pattern 1 2
hopefully have been practicing. Make sure to lift5 the LH finger3 1 off as8 you shift
willsqueak
  - a lot!
10


 

otherwise
 tips  here
 are:      4  9  90 2  20  7  70   
Main          
• Use guide fingers 2 3 4.
• Lift0 finger01 off to0shift, squeak
0 free. 0 0 0 0 0 0

  
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
• Learn the melody, and its moves (intervals).
0 0
0
0 0
0
0 0
0
0 0
0
0 0
0
0 0
0
0 0
0
0 0
0
0 0
0
0 0
0

Once you have all that secure then practice with Villa-Lobos’
B¨‹7(b5) D©‹7(b5) RH E‹7(b5)
patternE©‹7(b5)
of F©‹7(b5)
sixteenth notes, see score. This etude has 2 big sections which use a large chordal
6fr

  static notes.  
1234
idea, with a single chord shape juxtaposed 14against

1234 1234 1234

  
F©‹7(b5) B‹7(b5) E‹7(b5) A‹7(b5)  F©‹7(b5) B‹7(b5)
 
G©‹7(b5) 
C©‹7(b5) 
7fr 5fr 7fr 4fr 9fr


 
 
1234 1234 1234 1234 1234 1234 1234 1234

11
  9
9 14 1515 16 17

   


9 14 14 15 16 16 17 17

  
9
8
 80
9 14
13
14
13
0
1514 15
14
0
16
15
16
15
0
17
16
17
16
0

5 10 3 8 5 10 7 12


5 10 10 3 3 8 8 5 5 10 10 7 7 12 12
5 10 10 3 3 8 8 5 5 10 10 7 7 12 12
4 9 9 2 2 7 7 4 4 9 9 6 6 11 11
0 0 0 0 0 0 0

Etude No. 4 9

www.classicalguitarrocks.com
 Micro Study 7 - min7b5 shape part 2a
Micro study 1 7, bar 14 to 15, uses a

   RH pattern  
Pattern Pattern 2
different
  as  Villa-Lobos
 is
     
   up the harmonic
doubling  chord
   rate,             
changes, sothat he can climax   on  a high      

 is still  
B, fretPattern
19, at 1
bar 15. (The first half of the Pattern 2

bar 000 simplified

 

0
 
rhythms

0
 
0 for clarity,
  000  000  000  000  000  000 000
 
           0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0
with more   
details 
in 
the 
TAB,  
0 but please      0
0 0 0 0 0 0 0 0 0 0 0 0

   
0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0
see the score for full clarity.)

The same 0
principles
0
0for 0learning
0 0
this section apply,
0
0get0 used
0
to
0 the
0
0 0 chord
0 0
moves0

 then put 
0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
first, 0 0
0 the
0 RH
0
0
0 pattern
0
0
0 in 0 (above), and then
0
0 play
0
0
0as it
0 is0 written.
0
0 0 0 Note
0 0
0 0 that
0
0 0
0
thereF©‹7(b5)
is a discrepancy
B‹7(b5) E‹7(b5)on what
A‹7(b5) Villa-Lobos actually intended
F©‹7(b5) B‹7(b5) for beat 1 of bar
G©‹7(b5) C©‹7(b5) 15,
some scores have sixteenths others a crotchet. I personally play a crotchet as it
7fr 5fr 7fr 4fr 9fr

gives the piece a slight pause, allowing for a deep breath before diving back1234in.

 
yours.  
1234 1234 1234 1234 1234 1234 1234

11
The 
choice is   
 F©‹7(b5)
 here  are:E‹7(b5)    B‹7(b5)  G©‹7(b5)  C©‹7(b5) 
Main tips B‹7(b5)
 A‹7(b5) F©‹7(b5)
• Use guide fingers 2 3 4.
7fr 5fr 7fr 4fr 9fr


  5
 1 off to shift. 
1234 1234 1234 1234 1234 1234 1234 1234
•
11

Lift finger
   
9 melody,  1212
5 10 3 8 5 10 7 12


 Learn   

 
10 10 3 3 8 8 5 5 10 10 7 7 12
• 5
4
the
10 10
9
0
 0
3 and
2
3 its
2
8 moves
7
8
7
0
(intervals). 5
4
5
4
0
10
9
10
9
0
7
6
7
6
0
11
12
11
0
Once you have all that secure then practice with Villa-Lobos’ RH pattern of
sixteenth notes, see score.
5 10 3 8 5 10 7 12

 15 onwards,
5 10 10 3 3 8 8 5 5 10 10 7 7 12 12

 
5 10 10 3 3 8 8 5 5 10 10 7 7 12 12
Bar 4
see next page, has a different surface pattern again, and an inde-
9 9
0
2 2
0
7 7
0
4 4
0
9 9
0
6 6
0
11 11
0

pendent bass line.

B¨‹7(b5) This will
D©‹7(b5)
require a little
E‹7(b5) E©‹7(b5)
extra G‹7(b5)
F©‹7(b5)
effort toG©‹7(b5)
separate from the chords,
so experiment with different RH positions or thumb angles of attack.
6fr 3fr 4fr

   
 
1234


1234 1234 1234 1234 1234

 
14


 B¨‹7(b5)    

D©‹7(b5) 
E‹7(b5) 
E©‹7(b5) 
F©‹7(b5) G‹7(b5) G©‹7(b5)  
6fr 3fr 4fr

   99 18 19

1234


1234 1234 1234 1234 1234

 1515 1616
14

 98
14 17
 

 1817 1918
9 14 14 15 16 17 17 18 18 19
9
8
0 
14
13
14
13
0

15
14
15
14
0
1615 16
15
0
17
16
17
16
0
18
17
0
 

9 14 15 16 17 18 19


9 9 14 14 15 15 16 16 17 17 18 18 19
9 9 14 14 15 15 16 16 17 17 18 18 19
8 8 13 13 14 14 15 15 16 16 17 17 18
0 0 0 0 0 0

Etude No. 4 www.classicalguitarrocks.com 10

 Micro Study 7 - min7b5 shape part 2b
 C©‹7(b5)
C‹7(b5) B‹7(b5) B¨‹7(b5) A‹7(b5)
G©‹7(b5) G‹7(b5) F©‹7(b5) E©‹7(b5) E‹7(b5) D©‹7(b5) D‹7(b5) G©‹7(b5)
9fr
8fr 7fr 6fr 5fr
4fr 3fr 10fr 4fr
1234

 
 
1234 1234 1234 1234

       
1234 1234 1234 1234 1234 1234 1234
15
     
  
    
        
19 18 17 16 15 14 13 12 11 10 9 8 7 6


19 18 17 16 15 14 13 12 11 10 9 8 7 6
19 18 17 16 15 14 13 12 11 10 9 8 7 6
18 17 16 15 14 13 12 11 10 9 8 7 6 5

 last 2 micro studies, get the chordC©‹7(b5)

Above is bar 15 to 16 stripped back to essential info, and minus the bass line.
As perthe
 then as above - simplified. Once
shapes, and their moves, first (no
G‹7(b5) F©‹7(b5) E©‹7(b5) E‹7(b5) D©‹7(b5) D‹7(b5) C‹7(b5) B‹7(b5) B¨‹7(b5) A‹7(b5) G©‹7(b5)
rhythms),
G©‹7(b5)
4fr
3fr
that
C©‹7(b5)isC‹7(b5)
all secure 9frthen stop and move
8fr
B‹7(b5) B¨‹7(b5) A‹7(b5)
7fr 6fr 5fr
4fr

ontoG©‹7(b5)
to1234theG‹7(b5)
below. F©‹7(b5) E©‹7(b5) E‹7(b5) D©‹7(b5) D‹7(b5) 1234
9fr
1234 G©‹7(b5)
  

 chords.
1234 1234 1234 8fr 7fr 6fr 5fr

1234  1234Allyou
1234

you
 are 1234
 adding 1234 are

1234 1234 1234


1234

1234 in1234the bass,

3fr 4fr

Here
1234 as written, to the simplified
4fr 10fr

 
15
1234

     
 to
1234 1234

layer ofdetail
  to your
 5.
        RH pattern,
  
1234
really doing now hopefully is adding in another
1234

       of moving
   your
15

 best tip I can give you is memorize the

due   from above,
 all therepetition   thumb  onto
back  string
 
There is a lot there so tackle  itslowly.  The
chord moves,
19 18 and17 their 1616sound1515 (intervals)
14 13 in each12 micro
11 study,
10 first.
9 Once
8 that
7 is
6


19 18 17 14 13 12 11 10 9 88 77 66

 simply; second, with the Villa-Lobos RH patterns as written (see the score).
19 18 17 16 15 14 13 12 11 10 9
all secure
19
19
19
18
put18 micro
18
18
17
17 studies
17
17
16
16
16 615& 7 together
15
15
14
14
14
14
13
13 as one
13
13
12
12
12 big11 section
11
11
10
10
10
10
9
and
9
9
9 play8 through
8
8
7
6
7
7
66 it:
56
18 17 16 15 14 13 12 11 10 9 8 7 6 5
first, 0 0 0 0 0 0 0 0 0

Please note: some chords shapes are described an octave below where they are.

 C©‹7(b5) C‹7(b5) B‹7(b5) B¨‹7(b5) A‹7(b5) G©‹7(b5)

G©‹7(b5) G‹7(b5) F©‹7(b5) E©‹7(b5) E‹7(b5) D©‹7(b5) D‹7(b5) 9fr 8fr 7fr 6fr 5fr
3fr 4fr
4fr

 
 

1234 1234 1234 1234 1234

 
1234

  
1234 1234 1234

 
1234


1234
15
    
    
         

19 18 17 16 15 14 13 12 11 10 9 8 7 6


19 18 17 16 15 14 13 12 11 10 9 8 7 6
19 18 17 16 15 14 13 12 11 10 9 8 7 6
18 17 14 13 10 9 6 5
0 0 0 0 0 0 0 0 0

A note on Learning
Only tackle as much of the above sequence as you can, whilst staying
mentally fresh. Take as long as you need to get all the information correct,
it will save you having to re-finger at a later date when you find out the
fingering will not work at faster tempos. It is suggested no more than 20
minute sessions.

Etude No. 4 www.classicalguitarrocks.com 11


4 9 9 2 2 7 7 4 4 9 9 6 6 11 11
0 0 0 0 0 0 0

Micro Study 8 - guide & anchor fingers

G‹7(b5)
F©‹7(b5) B‹7(b5) E‹7(b5) A‹7(b5) F©‹7(b5) B‹7(b5) G©‹7(b5) C©‹7(b5)

11  1234
3fr
7fr 5fr 7fr 4fr 9fr

       1234 

1 1

       

17 3 3

   


1234

 
1234 4 1234 1234 1234 4
1234 1234

        

4 2 2 1 1 4 1 1

    
1

    
3 3 4 (3) (3) 4 (3)


3 3
1 2 3
2 3 (2) (2) 2 3 (2)

1
    2
 
2 2
6 0 5 0 5


65 2 10 4 3 3 8 3 3 5 3 3 10 3 7 12
65 0 10 5 5 5 5 5 5 5 510


10 3 3 8 8 5 10 7 7 12 12
55 10 4
10 3 4 3 8 8 4 4 5 4 5 4 10 410 7 7 12 12
4 0 9 9 2 0 2 7 7 4 0 4 9 09 6 6 11 11
0 0 0 4 0 0 0 0

Micro studies 8 & 9 are presented together here as the same technical, and musi-
cal concepts, are utilized within them. They are also the beginning of the turn
aroundG‹7(b5)
bars, as we head back into the opening material a second time at bar 25.
17•  Guide
So
21 main pointers here are: 4

       

3fr
2 2
   arrows,  them
4

     3
  3

1
     
1

     

 

1
fingers are marked with use to shift.
     
       
1234

 
4 4 4 3 3 4

 Anchor   are
   fingers   
2 2 1 1 4 1 1

                  
4 3 2 2 2 2 1 2 2 2
3
• marked with dotted lines, leave them down and change around

3 4 (3) (3) 3 4 (3)


1 2 3
1 1 1 3 (2) 1 1(2) 2 1 3 (2) 1 1
them. 4 4 3
2
3 2 2 2
0 2 2 0 0 0

when you4feel040 comfortable

• 2 possible
3 03 fingerings 3 have
0 been given0 for bar 19, 0beats0 1, 2&, and 4. It
0 depends on

3 6 0 5 3 0 00 05 0 0 0 0
5 6
5 25 5 4 5 5 4 4 4 4 33 23 03 1 3 42 3 4

•
3 3
4 6 4 5 4
5 changing,
3 3 experiment
2 52 with2 5 both.
25 05 0 5 0 0
5 4 3 4 3 4
3 3 3 3 2 2 42 24 24 04 1 4 2 3
0 0 0 0
Villa-Lobos is using a static chord (bar 17 - 20), D7/F#, and a note (bar 22 to 24), B 4

string 2, and then changing the harmony around both. This idea comes up often in his
music, so it is worth noting. Again derived from Bach.
Micro Study 9
       4
1/2CV 1/2CIII 1/2CI

         

  
31
4  2
4

   
3

   
1 3 1 1 3 3 1 1 3

   
21 2
     
   
    
1

             
 
4 4 3 3


          
4

  
2 2 2 2 2 2 2


3
1 1 1 1 1 1 1 1

8 7 5 4 54 3 3 3 3 12 2 2


0 5 5 5 0 3 0 3 3 0 5 1 1 1 3
3 5 35 5 3 30 30 3 0 0 3 0 1 01 0 1 01


3 0 3 0 0 0 0
5 5 5 55 5 5 5 5 34 4 34 4 3 4 4 3 3 2 0 0 10 2 0 30
4 4 4 4 4 3 3 2 0 2 0 2 2 0 0 0 0
0 3 3
4 3 3 3 3 3 3 2 2 2 2 2 0 1 2 3

Above represents a lot of agile LH finger work, any beats or measures which are
challenging need to be chunked, and slowly repeated - mindfully though! Top tips
to achieving this are:
•  Practice
 inchunks:
    
1/2CV 1/2CIII 1/2CI
31
    
finger combinations, beats, chord pairs, then entire bar.
4

  
3

 the fingers changed

1 3 1 1 3 3 1 1 3

 Super  to build

 slow practice 
 upthe new “feeling” 
 of getting 
•
   

or
shifted.

8 7 5 5 3 3 1


5 5 5 3 3 3 5 1 1 1 3
Etude No. 4 5
5
5
5
5
5
3 3
www.classicalguitarrocks.com
3 3
3
3
0
3
3
0
1
0
1
0
1
0
1
0 12
3 3
Phrasing Focus
Tone Main

 Tone finest

Tone fine

        

   
          
 
17

      
              
             


 



 
rit. accel.
Above you is bar 17 to 20, and it is a great spot to digress slightly and talk about
phrasing. This etude is the first in the set, so far, to offer any sort of fine expression
markings. From bar 1 to 7 we have a lot of Villa-Lobos’ ideas about how to phrase
each bar: cresc., decres., rit., sFz and poco allarg. And on the surface this piece
might seem to offer very little for you to further shade its notes. Nothing could be
further from the truth.
The music in etude no. 4 is modern and crunchy, the chords offer a fantastic
sound world with which to tonally paint. The example above highlights the vari-
ous layers available that will require stitching together. Remember phrasing is
nothing more than making musical lines into sentences, and then sentences into
paragraphs. So above we have an over arching main tone, this could be normal.
On the fine tone phrase markings we might move slightly left (or right ) of that
position as we play across those chords. Then it is possible to use the volume, with
the tone to shade in the finest tone graduations. These really are advanced ideas,
which should be built in once you have a handle on the music.
Don’t leave these decisions until the end though! They can be sketched in, with
pencil, once you are confident about what you hear the sentence to be. But do not
hold tightly to them. As over time, bit by bit with repeat performances and hear-
ings, you will change (and improve) your ideas of how to phrase each line. But
you need a baseline to begin with.

And remember, fingering is a key part of phrasing, so make sure your (or my)
fingering aids the phrasing. There is nothing worse than fingering which leaves
your musical lines stuttering. String choice will also play a large part in the tone of
a line, and this dovetails into fingering. Where did you finger that note and why?
Hopefully these ideas will help spark your imagination for what you can achieve
with this etude. See the end of this book for more musical suggestions.
A note on Learning
Make sure you do not allow any errors to creep in at this stage, your body
will retain these and they will need ironing out at a later stage. So take it
slowly and perfectly – if you can! (You are 1/2 of the way through!)

Etude No. 4 www.classicalguitarrocks.com 13

 Micro Study 10 - turn around idea 1

   
   
 
1/2CV 1/2CIII 1/2CI
31
   
4

  
3

   
1 3 1 1 3 3 1 1 3

        
   

8 7 5 5 3 3 1


5 5 5 3 3 3 5 1 1 1 3
5 5 5 3 3 3 3 1 1 1 1
5 5 5 3 3 3 3 0 0 0 0
0 0
3 3

Micro study 10 begins with bar 31, because bars 25 to 30 are nothing more than
a recap of the opening 6 bars, and so do not need going over again. This micro
study contains another chordal series, with the same shape (and its variations)
being moved down a tone. This idea is a linking passage for the next big event/
idea to this study: again a series of the same shape (min7b5) shifted around in
specific intervals (A.K.A. a melody). Main ideas here are:
• Relaxed half barre.
• Agile shifts, release finger 1 and use it as a guide.
• Lazer ahead of fingers.
• Even tone, but with some emphasis on top line.

Micro Study 11 - turn around idea 2

      
CV CV

34
           
     
4

      
3

   

        
a
3 3 m 3 2 1

       
i


2 2 p 3
1
p
3 3

7 7 7 6 6 6 5 5 5 5 5 5

 
1 3 4 8 7 8 5 5 5 5 0
0 0 0 0 0 0 7 7 7 6 6 6 5 5 5 5 5 5 2
1 3 4 8 7 8 5 5 5 5 5 5 5 5 5 5 5 5 4
0 2 3 7 6 7 0 0 0 0 0 0 0 0 0
0

Micro study 11 is split into two. The first 2 measures are nothing more than a
chord shape shifted up (and down) the fretboard. Here guide finger 3 is used, lift/
hover the other fingers toB‹7(b5)
reduce squeaks. And use RH thumb, bar 35, to play 2
Thesecond
7fr

bass
38 strings, as indicated.
 some
2  2   23 are a series the RH   
 playing

  of half
 


1 in    There

1302

  mi
a set of
3   3
measures
 
barres, with
 5),makethemstand
 
p
1  1 
samba plike syncopation 
ideas the bass   
(string out.
is nothing2 too taxing about this, the RH just moves up and down with finger 2 A

remaining on string0 1. Make the most of the last bar as this is the jump off point

 
0
into the 0next big
4 3
0 idea
0 of the
4
0 etude,
7 9
0 a min7b5
7
0 0chord0 shape
5 4
0 in the 0bass &
5 9
0 tenor
11 9
0
5 4 5 8 8 8 6 5 6 10 10 10
voices moved
3 2around3 and juxtaposed
7 7 7against5 open4 strings,
5 classic 9 Villa-Lobos.
9 9

Etude No. 4 www.classicalguitarrocks.com 14

 Melody Focus
Below are two melodic fragments, the first starting at bar 38, and the second
starting at bar 46. This melody is the one Villa-Lobos employs for the rest of etude
no. 3, until the coda. It is worth playing through on its own as it will help memo-
rize this big section. There are slight tempo differences to each fragment, but on
the whole you can see, and hear, they are the same. So what changes between
them in this study? Your RH! Fragment 1 continues the repeated sixteenth notes
as you have been doing for 37 bars. Fragment 2 on the other hand develops the
RH with new patterns. One of which Villa-Lobos obviously liked a lot, as he uses
here a lot, and in Prelude No. 1. The next couple of micro studies will rely on you
being able to play and hear this melody, so take some time to learn it.

Main ideas here are:

• All on string 6, all!
• Play through each melody, know the differences.
• Don’t worry about squeaks, we will tackle the shifts with the chord shape.
Notice any similarities between these fragments and the first melodic fragment on
page 6? (Hint: you should compare & contrast here.)

Fragment 1
 
38

 

   
        


42

      
       

Fragment 2
 
46

 
 
  
        


50

    
  
        

Etude No. 4 www.classicalguitarrocks.com 15

 0

Micro Study 12 - min7b5 part 3

B‹7(b5)

   
7fr


38

 
  
 
     
1302
    
a

 
2

     

 
m 2 2

 
i 3
p 3 3
1
1 1
p
2 2


0 0
4 3 4 7 9 7 5 4 5 9 11 9
0 0 0 0 0 0 0 0 0 0 0 0
5 4 5 8 8 8 6 5 6 10 10 10
3 2 3 7 7 7 5 4 5 9 9 9

        
42

          

                
  
2 2


12 11 9 7 10 9 7 5 8 7 1 2 3
0 0 0 0 0 0 0 0 0 0 0 0 0
13 12 10 8 11 10 8 6 9 8 2 3 4
12 11 9 7 10 9 7 5 8 7 1 2 3

Above is micro study 12, and as you can see it is all about that min7b5 shape
being shifted around the fretboard. It creates bitonality, polychords, and crunchy
harmony. This idea is further developed in the next micro study.

•  Guide
The
54 main tips here are:
1 1

 (and   with

 shift)  finger
LH   1 &3.  
  2,liftfingers    

2

    
2

 
2 3

                
3 2 1 1

               
  across
2

 1 (bar1)
3 2

  requires   strings.
4 3 3
• Chord
   RH thumb  2bass
p 3 2 2 3
1 1 4 4
p 1p 3 3 4








1 p p p 3 1 p etc.
p p 1 p
• Practice as block chords first,23 then put the RH 23pattern in.
3 3 3 3
4 4
2


0 0 0 3 2 0 0 0 0 0 0 0 0 0 0 0 0
• Uses
4 melody
3 2 fragment
0 3 21; can0 be0 practiced
0 0 separately.
0 0 0 0 0 0 0
0 0 0 0 0 4 2 1 0 1 2 1 0 1 0 6 8
5 4 3 2 2 2 3 2 0 2 3 2 0 2 5 8 10
The trick3 is to
2
find
1
the
0
chord/s
0 0
that
0 0
Villa-Lobos
1 0 0 0
designates
1
as a release from all 0 6 9 11

that wonderful modern harmony, and build your phrases around them.
The Secret to LH Shifts
Make sure your elbow is engaged, and moving, as you shift those chords, the
elbow facilitates LH finger clearance and movement through rotating around the
wrist and thumb. If you are struggling with these be sure to check that the elbow
is helping you. Not hindering you by remaining at your side or locked into one
position – it must be fluid and relaxed as your LH fingers move on the frets. This
is especially true when you have to shift higher up past fret XII. The elbow is cru-
cial to getting your fingers in place. So take a few minutes to focus on that alone.
Etude No. 4 www.classicalguitarrocks.com 16
 Micro Study 13 - min7b5 part 3
On the next page is the main technical challenge for this etude, and its one Villa-
Lobos clearly was building up to. It uses most of the RH patterns that he has so
far hinted at, but in a more rhythmical manner. To ease the burden of working it
all out, patterns, chords & positions, I have split the idea into melody, bottom line
with chord shapes, and open string patterns, top line. These can then be practiced
separately. However if you have been diligent and worked through the melody
focus, micro study 1 and micro study 12, you will find all you need to understand
are the patterns and the slight deviations from melody fragment 1. Hopefullly not
to much work then.

The main tips here are the same:

• Guide (and shift) with LH finger 2, lift fingers 1 & 3.
• Note where its P I M A, and where its I M A.
• RH pattern in with block chords straight away.
• Uses melody fragment 2; can be practiced separately.
If after all that you are struggling with any chord changes use the mighty 5 below
to practice them in pairs. One thing to add to this, make sure that you have a clear
understanding of which fingers of your LH are going down, how and where. With
big block chords like this it is easy to lose track of LH control and direction.

After this micro study it is the final coda section which, oddly enough, has no
controversies attached. Who knew!

Solidifying the Changes - the Mighty 5

The above steps represent a good path to learning etude no. 3 securely, however
to solidify it, you need to challenge the information. This is done with the 5
rhythmic patterns below. Each one will test your brain, and by extension your
bodies, grasp on the security of the fingering. It does this by challenging the finger
exchange mechanism. This sort of practice should be left until you have learnt all
the bars, and wish to test and secure them further.

    
3

       

Etude No. 4 www.classicalguitarrocks.com 17

Micro Study 13 - min7b5 part 3
a a a

 
m m a m
i i m i
46
      
p p p
i

                                      
                      
0 0 0 0 0 0 0 0


0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
G F© G B‹7(b5) A‹7(b5) G©‹7(b5) A‹7(b5)
7fr 5fr 4fr 5fr

  130200 
 
130200 130200 130200 130200 130200 130200


        
a a a

 
m a m m
i m i i
49
       
p p p

                       
i

               

                      
0 0 0 0 0 0 0 0 0


0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
C©‹7(b5) E‹7(b5) E¨‹7(b5) C©‹7(b5) B‹7(b5) D‹7(b5) C©‹7(b5) B‹7(b5)
9fr 12fr 11fr 9fr 7fr 9fr 7fr

  130200  130200  130200

   
130200 130200 130200 130200

      
 
a a

 
m m
i i
52
       
p p

                    

   


   


   



                
0 0 0 0 0 0 0 0


0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0
A‹7(b5) C‹7(b5) B‹7(b5) F‹7(b5) F©‹7(b5) G‹7(b5)
5fr 8fr 7fr 3fr

130200
 
130200 130200 130200 130200 130200

    

Etude No. 4 www.classicalguitarrocks.com 18

Micro Study 14 - ending part 1

                   
1 1
54

                             


2
2


2 3

   
3 2 1 1

                  
3 2 2
4 3 3
p 3 2 2 3
1 1 4 4
p 1p 3 3 4








1 p p p 3 1 p etc.
p p 1 p
2 2 3 3 3 3
3 3 4 4
2


0 0 0 3 2 0 0 0 0 0 0 0 0 0 0 0 0
4 3 2 0 3 2 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 4 2 1 0 1 2 1 0 1 0 6 8
5 4 3 2 2 2 3 2 0 2 3 2 0 2 5 8 10
3 2 1 0 0 0 0 0 1 0 0 0 1 0 6 9 11

Micro study 14 represents the final few chords to this etude. Here Villa-Lobos
really stretches out on the polychords and crunchy harmony. Have fun with it.
Check the angle of your thumb for those 6 note chords, experiment to find the
comfortable, and cleanest, delivery.
The main ideas here are:
• LH thumb is playing more than 1 bass string, needs to be agile and clean.
• Be clear about the anchor (dotted line) & guide fingers (arrow)
• Use the LH pads to shift on bass strings, you will squeak, just not that much.
• Final 2 chords could be guide fingers: 1 2 & 3.

Micro Study 15 - ending part 2

)
    
62 (plant a:
   
             

3 2

 
         
2 2






1 3
p p p p

2 2


12 12 0
12 12 0

 
12 12 0
10 10 2 2 2 2 2 2 2 2 2 2
0 0 0 0 0 0 0 0 2 2 3 3

Micro study 15 is a tiny coda to this piece, after all those big block chords we get
the clarity of crystal clear natural harmonics and the gentle murmur of the bass
line, still keeping the constant sixteenth notes going (all with LH thumb). My
fingering has been chosen to facilitate the shift down form fret X to II, but that is
not to say its the only choice.
Top tip here are:
• Plant RH A finger on string 1 for stability after playing the harmonics.
• Vibrato on the last bar, needs to be sustained.

Etude No. 4 www.classicalguitarrocks.com 19

 Final Learning Note
Do not try to soldier though all of the above information in one sitting. Aim for
getting one step at a time correct first. The micro studies are like mini goals, and
really only work well if built up together slowly. So if it takes you 20 minutes to
get the first point right, good. If it takes you 2 days of 20 minutes to get the point
right, good too. Each person is on their own path, challenge yourself only and do
not compare yourself to others. Everybody has different learning experiences and
abilities and these need to be respected in order for gains to be made. Importantly
don’t rush, you are running the marathon for yourself.

Making it Music.
This study needs to be made music, the 1948 edition does not have all the expres-
sion marks in this piece. The 1928 (& modern Zigante edition) do. However the
most important change actually originates from the Carlevaro manuscript (which
is a footnote in Zigante): Andante (which is slower than 1928 & 1953 - un peu
modere). I agree with the slower tempo as I think you lose a lot of the polychord
clashes if played too fast. I have also opted for a “rougher”, but more consistent,
ending sound, by using the LH thumb to play the last few sixteenth notes, bar
63 - 64. Villa-Lobos used I M in ‘28 fingering. Again my fingering choice looks
towards etudes 10, 11 & 12, which are know by the moniker “jungle music”, due to
the inherent violence that is contained within them. However, as usual, the choice
is yours, experiment with it until you find your rendition of this music.

Even though this piece is very Brazilian in nature, there are quite a few poly
rhythms hidden in the bass, it will require some Western style rubato; which
Villa-Lobos acknowledges and has written in. Stick with the pulse, bring the
syncopations out and let it breathe at the end of phrases. Other than that, keep
it generally steady and flowing. Villa-Lobos has also provided a template for
phrasing in the first 7 measures, important enough to make it from the 1928
manuscript into the 1953 edition. So use his expression markings as a guide to
tackling this wonderful modern etude.

Bottom line: have patience it will come, your body and mind need time to adjust to
new endeavours, so trust in yourself and the dedicated work you do in the practice room.

Etude No. 4 www.classicalguitarrocks.com 20

 Coda: Where To Next?

Well that is it for this detailed study guide, I hope it has proved useful and inspiring. What
next? Etude 5! This study guide will be available next. If you have signed up to the #villalobo-
s12in12 challenge, you will be getting it via email. So look out for that.

There are also a ton of free lessons over at CGRocks.com, which will can be utilized in
learning this piece. The choice is wide, varied, and suites all levels.

Guitar Community
If you wish to get involved, there is a community Facebook page, Play Classical Guitar,
where like minded individuals such as yourself are known to hang out and discuss all things
nylon string based. I am also available to answer questions or queries there. You could also
try searching for #6stringinspiration on Instagram - loads of free community videos and
inspiration there too!

Visuals
The micro studies in this guide have video. These will step you through each part of this
guide. I explain and demonstrate all the micro studies. So head over to YouTube, with the
link on the next page, and take a look for yourself.

I also have videos up on Instagram of each short micro study, no talking, just the music. The
choice is yours.
Keep in contact and let me know what you think.

Sincerely

Rhayn

editor@classicalguitarrocks.com

Etude No. 4 www.classicalguitarrocks.com 21

 Free Guitar Lessons Online
Want more?

This book has series of video lessons on YouTube. All Free. Along with extra micro
study videos on the various slurring techniques that you need to play Etude No. 4.

www.youtube.com/rhaynjooste

Want even more?

Head over to Rhayn’s website, sign up, and get more freebies.

www.rhaynjooste.com

Etude No. 4 www.classicalguitarrocks.com 22

 www.freshairpublishing.co.uk
Want to learn classical guitar?
The books below are available from Amazon to buy or download.

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8 Simple Sor Studies

Simple may be in the title, but it’s contents are

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Etude No. 4 wwwclassicalguitarrocks.com 23