Brouwer: Etude No.

LESSON WORKBOOK

Your Instructor: Rene Izquierdo

About This Lesson WATCH LESSON

In this lesson, Rene Izquierdo dives into the most virtuosic of Brouwer's Estudios Sencillos. He
explains his preferred right-hand fingerings, the coordination exercises that he created out of the
middle section, and how to use right-hand preparation to achieve added security during
performance.

Cuban-born René Izquierdo is a unique artist and passionate

educator whose career has been dedicated to inspiring individuals
and connecting communities. Whether passionately performing on
stage, devotedly mentoring his students, fundraising, or leading
community outreach, René’s multi-faceted approach endeavors to
continue creating experiences that enrich people’s lives and add
beauty to our world.

Contents

03
Introduction
05
Rest stroke and free stroke

04
Right hand
05
Damping

04 Slurs 06 Dynamics

If you have any corrections, comments, or critiques relating to this

workbook, please send them to ethan@tonebase.co. We strive to
deliver the highest quality enrichment experience. Thank you!
Introduction

The indication “As fast as possible” is dependent on your own personal ability. Aim for clarity over
speed to make the piece musical. The triple motive is reminiscent of Guajira Criolla, a song by Leo
Brouwer, containing rhythms typical of the Canary Islands in Spain.

The opening harmony spells out a minor chord with a major seventh. The subdivision remains
constant, but the meter changes from 4 to 3 (12/8 to 9/8).

This means that the long note in measure 6 shouldn’t contain a dot – it’s only a bar of 9/8. The 12/8
returns on the fifth line (a 4/4 feel). Practice conducting the piece until you’re comfortable easily
alternating between binary and ternary meters.

Brouwer often uses symmetrical patterns in his writing, where a sequence of intervals is
transposed, creating unusual harmonic trajectories. These also provide a fascinating technical
challenge!

03
Right hand
Mixing rest stroke with free stroke is advisable here, if you’re comfortable with it! Begin with pima,
and then mim in the opening measure. Finish the last note of the run in measure 6 with the thumb,
and prepare immediately ia (or im). Damp the sixth string on that last low E, but be careful not to
sound the harmonic!

Be very precise with the rhythm during the rest in measure 7. Don’t just enter whenever you feel
like. Continue with i and m in measure 12 and beyond. At the end of the third line from the bottom,
the score doesn’t contain a 9/8 time signature, but the piece does return to ternary for two
measures! Continue being very exact and clear with timing toward the end of the piece.

Slurs
Shifting and slurring require slow, careful work. Ascending slurs require precise timing. Time the
movement from the knuckle. Watch Rene’s continuity of movement when he slurs upward,
especially in his left hand. Use rest stroke here, as free stroke creates a lot of residual sounds. You
can use the first finger to help damp and gain confidence in the hand.

M. 12 is one of the hardest passages to synchronize. You can use your right-hand thumb to play the
sixth string here for extra balance, but Rene recommends continuing to use i and m. Keep the
thump on top of the sixth string so that the other fingers play against the thumb. This acts as an
additional support mechanism.

04
Create an exercise out of the pattern in measure 12, moving up the fretboard. Eventually, speed will
come if clarity is the goal at first.

Create contact with the top of the left palm on the back of the guitar. This creates additional
stability.

Rest stroke and free stroke

If you’ll be mixing rest stroke with free stroke, make sure rest strokes aren’t too heavy. The attack on
each must be the same. Before the first measure, prepare the C minor chord all at once in the left
hand.

Brouwer is highly inspired by flamenco music; the opening resembles an alzapua technique that
uses the thumb alone. This thumb swiping isn’t often called for in repertoire, so it’s a common pain
point. Try this as an exercise just to develop control over the thumb across strings and in both
directions! At any rate, the attack of an alzapua is quite strong, and it’s worth carrying this over into
your normal fingering.

Damping

In the first measure, after pima, plant the thumb across the third string to the sixth to damp the
strings. In the fourth line, we’re playing just on one string, but we must damp at the end of that line.

05
Dynamics

Brouwer once against asks for a very wide dynamic range. The crescendo from subito pianissimo in

the fifth line continues until the low E on the subsequent line. Try some plateau dynamic ideas in

the opening, where each phrase is at a different dynamic. Practice the entire etude forte, so you

have the control to play at that level. Do the same at a very soft dynamic. This ensures you learn

how to access the two whenever you feel it’s musically appropriate.

In summary, make sure your rests are accurate. Heed the markings carefully and experiment with

color changes. This etude should contrast in its explosiveness and speed, but always in control!

06