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123123123garcía de León Ernesto - 20 Estudios
123123123garcía de León Ernesto - 20 Estudios
Edited by
MICHAEL LORIMER
2002 by Adela Publishing (ASCAP). All Rights Reserved. International Copyright Secured.
Michael Lorimer, 175 West 73rd Street (10G), New York NY 10023. www.MichaelLorimer.com
Made and Printed in the USA. Order Number ML-122. ISBN 0-9618527-9-8.
3
ing to the composer that he played it fourteenth, not
first, in order to be able to play through all twenty
studies in a fluent manner. Garca de Len typically
plays the following order: 4, 3, 2, 5, 10, 13, 12, 6, 7,
11, 9, 14, 19, 1, 16, 8, 18, 17, 15, 20. In a nutshell,
the exercises are meant to be used as necessary, their
sequence tailored to each guitarist's needs.
The materials out of which the twenty studies are
developed are first idiomatic patterns of the guitar
and then the variety of musical styles so appealing to
and characteristic of Ernesto Garca de Len. For
example, classic examples of the music of the
Caribbean coastal basin in general and the composer's native state Veracruz in particular appear unvarnished in #12 (a rumba veracruzana) and #20 (a
son). The other studies blend elements of Mexican
music in generalsongs of the revolution, native
dances, boleros, children's songs, and so forthwith
elements of European classical music, Beatles, New
Age music, jazz and other musical styles, in a way
intended to appeal to the player and to the listener.
As the summary on pages 34 and 35 illustrates,
the first sixteen studies explore basic formulas for the
right hand. At the same time, they also address the
full range of left hand techniquesincluding balance
and positioning, independence of the fingers, longitudinal and transversal movements, shifts by substitution, by displacement, by jump, and by positions,
barring, stretches and contractions, damping, pivoting, crossed movements, and movements with fixed
fingers. The last four studies concern the slur.
Though each of the basic right- and left-hand formulas explored in the twenty studies is relatively
simple in itself, each is a building block of a solid
technique. Mastery of the complete set of twenty
studiesless than half an hour of musicintegrates
all the formulas and develops the technique to a level
at which an enormous range of the guitar repertoire
becomes available.
MICHAEL LORIMER, New York 2002
Opus 50
= 60)
0
0
m
i
m
i
4
4
poco a poco
cresc.
5
0
0
poco a poco
decresc.
9
2
8
CVI
13
3
4
1
1
3
4
3
1
decresc.
CIV
18
2
4
3
2
8
1
2
1
2
poco a poco
2
23
3
4
(055")
1
8
1
2
sub.
XII
6
2002 Adela Publishing (ASCAP). All Rights Reserved. International Copyright Secured.
Michael Lorimer, 175 West 73rd Street (10G), New York NY 10023. www.MichaelLorimer.com
Made and Printed in USA. Order Number ML-122. ISBN 0-9618527-9-8.
2. Ensueo (Dreaming)
Moderato ( = 80)
* m
m
i
1
4
2
3
4
2
1
2
2
3
4
1
CIII
CI
9
0
0
CIII
CII
15
vib.
rall.
20
(040")
*Alternative formulas, m. 1-8 and 18-25 (Formulas alternativas, cs. 1-8 y 18-25)
a
i
i
p
B
8
a
p
C
8
m
p
i
p
D
8
i
p
F
8
a
p
G
8
0
0
0
3
4
3
5
1
10
15
4
8
20
2
4
8
4
3
26
31
2
1
Coda
rall.
36
molto rall.
(115")
m
i
4
1
2
1
2
simile
4
1
2
8
m
i
2
3
8
10
rall.
a tempo
14
18
rall.
(035")
p
i
i
m
i
m
4
1
12
rall.
17 2
m
a
p
i
i
m
m
a
4
3
i
m
m
a
m
a
p
i
i
m
i
m
m
a
i
1
i
m
4
2
a tempo, dolce
ossia: m
i
p
p
i
m
a
ossia: p
m
i
m
m
a
3
m
a
p
i
i
m
m
i
a
m
p
i
rall.
1
4
28
22
1
8
a tempo
rall.
(100")
4
2
0
2
1
a
3
4
3
m
0
3
0
2
1
3
2
1
2
1
2
1
2
1
11
4
2
1
2
1
3
2
1
16
2
1
4
2
1
rall.
3
0
a tempo
p
21
dolce
2
3
8
2
4
26
3
8
a
4
2
1
31
4
3
1
molto rall.
36
(115")
4
3
1
molto rall.
10
VII
2
2
XII
XII
VII
XII
XII
VII
XIX
VII
XIX
1
4
VII
IV
III
III
CIV
XIX
2
3
XIX
XIX
a
1
4
3
2
1
3
2
1
7
4
1
XIX
3
8
0
1
molto rall.
14
(040")
11
10
3
2
3
2
2
1
3
13
3
2
3
2
3
molto rall.
2
3
4
16
20
23
3
4
2
4
molto rall.
26
4
3
4
3
29
4
3
3
(140")
2
3
2
morendo
12
i
1
1
0
5
1
2
8
9
3
4
8
13
4
3
4
4
17
4
4
8
1
3
1
2
4
3
rall.
21
4
3
a tempo
4
XII
25
0
8
1
3
13
30
a
i
ossia: i
4
36
rall.
1
3
1
3
1
3
1
2
4
4
41
a tempo
47
53
rall.
59
XII
2
3
a tempo
65
4
2
molto rall.
(125")
4
1
2
4
2
1
4
1
3
14
p
m
p
i
a
3
p
m
p
i
4
p
m
p
i
p
m
2
p
m
p
i
4
p
i
2
p
m
p
i
3
2
4
4
1
3
3
8
a tempo
ossia: p
a
rall.
p
a
m
i
3
12
2
3
a tempo
rall.
4
15
2
3
0
ossia: p
p
a
18
m
i
1
2
4
5
15
20
1
3
3
5
22
1
3
2
5
24
1
a tempo
a tempo
27
3
3
rall.
rall.
1
30
33
3
1
3
molto rall.
36
3
3
3
vib.
(155")
16
m i
4
3
2
3
2
rall.
m i
p i
m a
11
1
3
1
3
4
1
2
3
15
1
3
1
3
rall.
19
4
1
suave
rall.
(100")
m
i
2
8
a
m
4
1
17
5
0
3
0
0
3
8
13
cresc.
4
1
a 1
i
3
17
a
i
1
3
1
2
a
i
1
2
m
4
1
3
m
i 1
2
22
1
3
0
0
4
3
m
i
1
2
1
2
1
2
accel.
27
2
3
1
2
1
2
1
2
31
rall.
2
4
1
2
1
2
1
2
1
2
1
2
suave
(130")
18
1
3
11
1
3
4
2
1
3
2
3
2
1
3
4
3
4
2
4
1
21
1
3
4
2
Dolce
i
m
p
i
p
a
i
a
i
a
i
ossia: p
26
2
4
2
4
8
rall. ( = )
31
2
4
a tempo
4
3
2
3
2
3
2
3
2
3
2
4
3
2
19
35
4
3
2
3
2
3
2
3
2
1
2
2
3
2
3
ten.
41
1
2
3
4
1
2
3
4
46
dolce
1
4
0
50
1
8
60
3
8
molto rall.
a tempo
64
4
rall.
68
(145")
20
= 116)
m
CIII
CV
4
3
3
1
decresc.
9
3
4
3
13
3
3
17
4
3
2
21
4
B
8
C
8
E
8
F
8
H
8
D
8
I
8
etc.
J
8
21
26
cresc.
31
poco a poco
4
3
5
35
4
3
3
39
2
1
43
2
rall.
47
0
4
2
a tempo
51
0
1
3
1
2
55
1
3
2
4
2
5
2
6
22
59
1
3
63
4
2
XII
67
XII
XII
XII
2
2
a tempo
71
3
76
3
4
2
80
3
4
1
84
2
2
4
3
molto rall.
88
(135")
4
2
23
4
3
1
4
3
1
2
2
3
1
8
3
2
4
3
1
3
2
2
2
CV
4
3
1
2
11
2
3
1
3
4
2
3
4
molto rall.
15
1
4
3
2
4
2
3
1
3
2
poco rall.
molto rall.
19
(150")
4
1
3
4
1
2
4
1
2
4
1
3
morendo
*Alternative formulas (Formulas alternativas)
p
B
8
p
10
i m
10
E
8
C
8
24
m i
simile
i a m i
0
ossia:
3
0
5
2
7
3
3
3
rit.
9
4
1
a tempo
10
3
1
4
1
4
5
12
3
2
4
0
4
1
4
1
2
3
5
25
14
4
0
4
8
rit.
suave
16
2
2
3
a tempo
19
21
1
deciso
23
4
25
4
2
3
3
molto rall.
27
(100")
4
26
3
2
11
4
2
3
2
3
3
4
4
4
1
CII
14
0
0
4
3
3
27
16
3
3
3
18
4
1
20
2
4
2
3
3
23
2
cresc.
poco a poco
rall.
25
1
2
a tempo
2
3
XII
28
2
1
31
suave CIX
rall.
3
2
0
2
(140")
28
i
p
i
p
4
1
0
ossia: m i
i
a
i
m
p
p
p
m
i
a
i
a
m
p
p
m
i
a
i
a
m
i
i
m
i
a
m
i
m
i
m
i
a
i
i
p
p
p
4
*
3
12
15
18
3
4
B
8
C
8
D
8
E
8
F
8
G
8
29
22
4
3
2
3
3
4
1
4
3
30
4
3
0
4
3
4
3
1
2
a tempo
rit.
34
37
40
8
2
43
4
3
4
3
4
3
46
rall.
2
4
3
1
2
(145")
30
4
3
2
1
2
1
CVII
CIV
4
3
3
2
4
3
2
1
1
3
1
3
10
13
4
4
1
16
4
3
4
3
20
2
3
4
3
2
1
1
2
4
3
1
2
4
3
2
1
24
4
3
1
2
4
2
1
27
3
2
4
3
3
4
2
1
3
4
4
2
2
3
4
4
31
30
33
1
3
36
a tempo, dolce
39
4
3
1
1
42
4
1
4
3
3
1
45
rall.
48
1
2
vib.
a tempo
4
3
dolce
52
2
3
4
2
4
1
4
3
molto rall.
55
XIX
(140")
32
= 92)
m
m
i
2
a
1
4
1
13
4
3
16
10
m
4
2
1
4
m
i
p
m
i
p
2
8
19
1
33
dolce
22
3
3
25
28
3
8
31
34
molto accell.
a tempo
37
3
3
4
41
4
3
2
45
1
5
1
0
4
4
3
2
1
1
(105")
Mexico D.F.(5/98-12/98)
cresc.
molto accell.
34
Summary (Sumario)
m
i
CVI
= 60)
3
4
p. 05
1
4
2
3
p. 06
( = 72) ap m i
a
p
m
i
a
= 80) p
p. 07
m
i
p
m i a
( = 72)
a
m
i
p
i
p
1
2
1
2
1
2
2
3
0
0
1
3
0
0
3
2
1
4
3
4
3
2
1
a
p
( = 56)
p. 10
m
i
3
4
8
8
VII IV V
5
( = 92)
m
p
p. 10
III
1
3
2
1
3
2
a
p
a
i
p4
1
a
i
m
1
3
0
3
0
1
3
1
2
0
0
4
4
( = 80)
10
p. 14
etc.
9
p. 12
p i m
3
m i
m
i
p a m i
( = 92)
11
8
p. 16
6
p. 08
i
p
m i
p
m
i
m i m a
i
p
p. 08
( = 100)
etc
0
2
m
4
a
0
CIII
a
i
3
2
p. 04
m
i
( = 80)
35
1
3
a
m
i
p
a
4
m i p i m a
6
( = 66)
a
m
p
a
m
i
p
a
m
i
a
m4
i 3
a
i
a
i
14
1
2
4
3
2
3
2
3
2
a
m
i
15
p. 23
( = 92)
4
16
4
2
4
3
3
1
4
3
1
2
2
3
a mi
( = 60)
0
CIV
p. 26
i m
i
p
( = 60)
p
a
17
a mi m
a
4
18
( = 72)
(
4
3
19
0
0
0
m
i
p
4
2
0
1
4
20
2
1
i
p
2
2
i
2
p. 32
m
i
p
= 92)
a
p
2
3
2
( = 63)
2
p. 30
1
2
p. 28
m
i
( . = 116) p
p. 24
m
i
p
13
p. 20
a
i
p
12
p. 16
p. 18
( = 92)
m
i
p
1
0
0
3
2
p
36