Contents Introduction - 5 - : 6 Preface to the Twelve Etudes . : . 8 Chéros—No. 1 (1920) os : : 12 Suite Populaire Brésilienne (1908-1912)........ - Z 1. Mazurka—Choro : 18 2. Schoitish Choro 20 3, Valsa—Choro 24 4, Gavotta—Chéro 28 5. Chérinho. 32 Douze Etudes (1929) 35 1. Brude des arpéges 30 2. Des arpége: 38 3. Allegro moderato 40 4. Des accords répétés 2 5. Andantino, i5 6. Poco allegro 8 7. Trés animé : 30 8. Modéré 33 9. Trés peu anime 56 10. Tres animé ey 11. Lent - 63 12. Animé . os Cing Préludes (1940) . “ 74 1. In E minor 75 2.In C minor Bp 3.in A minor Be 4. In E minor 5 6 3. In D major 88 Notes on the Harmonics . S O1ne : Introduction The music in this collection has probably been more studied, performed and recorded than any ather guitar Compositions of the twentieth century. The reason lies in the fact that Heitor Villa-Lobos was ain extremely able guitarist as well as being Brazil's most distinguished and respected composer, Villa-Lobos was not a virtuoso performer, sind the guitar works represent only a small percentage of his total work; but the guitar pieces show an intimate understanding of the technique of this instrument and a desise © vase i 6 the full and t expand it with innovative challenges: In his youth, Villa-Lobos enjoyed participating in the “chéro” groups, the popular music of Rio at the len of the century. The Swite Populaire Brésilienne comprises, varied examples of the choro written between 1908 and 1942 characterized by melodies of great charm, And, When in 1920 as an established composer he initiated the Well-known series of seventeen choros for combinations of instruments, it is interesting that the first of these was for guitar solo; the *ChOros—No. 1° reprinted hese The mecting of Villa-Lobos with Andrés Segovia in Paris in 1924 ensured a forum for future guitar works. Segovia was urgently seeking new repertoire at this time, and. in spite of some initial misgivings about Villa-Lobos’ unconventional guitar style, he encouraged him to write further for the instrument, The two became friends, and the /2 Enules completed in 1929 were dedicated to Segovia whose introduction to the original publication is reprinted here. The Ging Préludes. published in 1940, represent a contsibution huge in proportion to their miniature size. The names given to them by the composer have not appeared in printed editions, so perhaps were not intended for general publication. However, players in search of extra insight into the préludes will undoubtedly appreciate knowing these descriptive titles. They were as follows: 1. Lyrical Melody: Homage ¢o the Brazilian Country Dweller 2, Melodia capsdacia 3. Homage to Bach 4. Homage to the Brazilian Indians. Homige to Social Life Some comment is necessary On Villa-Lobos's guitar notation. Unlike the Spanish composers, he does not refer to strings by number, but rather by letter. The first string is thus the E string or FE), the second string the B string or ‘B), ete. A line drawn from one note to another is used variously for an arrastre (slide), portamento, of Slur, In coment the meaning is ustally unambiguous, but not always The composer's treatment of harmonics has created much confusion, Almost all composers now follow the system used by Francisco Tarrega which is clear and easy 10 comprehend, A slatural harmonic was identified bby Vérrega 2s an open string with a umber to indicate over which fret the left hand should touch. Thus, the natural harmonic at the seventh fret of the second string would be indicated thusarimonico) = e Villa-Lobos would indicate the same thing by showing the note that would be produced by the left hand at the seventh fret; the requirement for a harmonic would be shown by a diamond-shaped note, or sometimes by an ordinary note with an open-string sign (°); €.g, harm. — harm, te —43 — The disadvantage of this notation is that it sometimes gives a misleading impression of a melodic line. For instance, from the “Prélude No. 4” the extract ® © @@9@ 3 jars —— produces the melodic line of the opening phrase of the prélude: foun Mt There is no real objection to this system provided that its usage is totally consistent. Unfortunately this is not so, and individual problem passages are discussed in the notes at the end of this book. No changes have been made to the notation and fingering except the correction of obvious typographical errors. For assistance in this area I should like to express my thanks to Laurindo Almeida, Ronald Purcell, and Peter Pickow; also to Brian Hodel to whose article *Villa-Lobos and the Guitar” (Guitar Reevew, Winter 1988, p.26) frequent reference has been made. Mainly, the purpose has been to assemble into a convenient single collection the rich treasures of Villa-Lobos’s output for the guitar ‘See Brian Hodel "Vill Lobos ana the Guitar."Gitas Review, Winter 1988, p.26. He quotes Vila-Lobos as explaining that Melodia capadoci” eer 104 Ope of BrazPreface to the Twelve Etudes Here are twelve “Etudes” written with love for the guitar by the genial Brazilian composer Heitor Villa-Lobos. They contain at the same time formulae of surprising effectiveness for the clevelopment of technique for both hands and “disinterested” musical beauties, without didactic purpose, which have the permanent aesthetic value of conceit works. In the history of the instruments there are few master composers who have managed to combine both virtues in their “Etudes.” The names of Scarlatti and opin come immediately to mind, Both fulfilled their didactic purposes without a hint of dryness or monotony; and if the diligent pianist observes with gratitude the feasibility, vigour and independence that these works bring to his fingers, the artistic soul who plays or listens to them admires the nobility, the ingenuity and the poetic emotion that breathe so generously from them. Villa-Lobos has given 1 the history of the guitar fruits of his talent as luxuriant and savoury as those of Scarlatti and Chopin. T have not wished to change any of the fingerings that Villa-Lobos himself indicated for the performance of these pieces. He understood the guitar perfectly, and if he chose a certain string or fingering 10 give effect to patticular phrases, we have the strict obligation 10 observe his wish, although it be at the expense of greater technical effort I would not wish to conclude this brief note without publicly thanking the illustrious Maestro for the honour that he has bestowed by dedicating these “Bludes” to me Andrés SEGOVIA New York, January 1953@ Ernesto NAZARETH. CHOROsS—No. 1‘Quasi andante («= 88) Heitor Villa-Lobos a tempo ya C2--- 4 1 Choo tol acs auenre (ee a tempo animando 1 allarg. FT harm. 12 d z Finea tempo ME. 9333t. EF a tempo . a tempo c a tempo, x ; * Fy & FP animando y : ; SSCP ME. 9333atempo Moderato un poco presser DSS. al Fine MB. 9333SUITE. POPULAIRE BRESILIENNEHeitor Villa-Lobos * te $4 em E *Las St tote ie F os + tempo (Final) z ao re 4 ot ts, z - ——— t, 4, aS fr ¢ wate Se e o Leelee F ME. 933:2. Schottish—Ch6ro See eee ee nee eee eee eee eee eee eae tee ee elgg tenner eR3. Valsa—Ch6ro Heitor Villa-Lobos Valsa tenta a dp ddd ddd Jd) sd rel Fe ro F F a tempo Mi Yl ee et eee eee ee eee eee ee te tee eee ee eefa 1] . ate | Ts ~U- tls He is we f + PHL A + 7 a, ou } is— . Mtl a t {[- ft ~vtl| weg ’ | rail 7 el i This. i HW) ws pti T I atl Tt [ ee Big POT SO eal i NT Tl] mA I i toe We Beg | ui tite Uli Wi Mk A i $4 “Th ” | He Whe = mR ~ 48 ia | | Tt A E - ro bo Re 8) lis 3 adh > NPI fo “Nee Abe u M.E. 9333Ae ere) pee aad BE HS - a tempoBi ey 4 7 tay o_. SE r tie Se | B ps F 6 ME, 9333nS I os 3 £7) L / = ip =o 4. Gavotta—Ch6ro si4sT) 44 ZZ 4 of Allegretto moderatoaah =a ME, 93334 = - RF = -f o o— e ‘ i e é id - i Hg I sat ies aay “ay ey r - 1 Zo ME, 9333a Madeleine RECLUS 5. Chérinho Heitor Villa-Lobos - $- rote? of et Se eee ee eee eee tee ee ete eee eee eee eg tegen aged gedaan NM deer rTCHE AKRKRARMAARARRAARAARRARRARRARARARA AAR AAMARRRMRAKRBAMAARAHRDA@ Andrés SEGOVIA Douze ETubEsEtude N°1 Etude des arpeges Heitor Villa-Lobos Allegro non ae Soe fee Syl Fe Sy v 7 tte eae iF simile la main droite Pl I serps ME. 9333, a FC LK KKM AR MRAMRANRKANRMAMREAMAARAAAKRAANAAAAKHRATY 5 Zs \ ME. 9333Etude N°2 Des arpeges Heitor Villa-Lobos x = pple a pte CGR BR RRR EKRARAREARAR ALARA RARAAAAAA AMARA MRAM MEMM MHME. 9333Etude N°3 Allegro moderato Heitor Villa-Lobos mee ene ee em mene Aha hAARMAAANRANANRARARAAANANAANAANAAAAAAsae ME. 9333im site ste gem ae il at Been bP vee eee EES Shes # # bs et os % eLieeaypitt +. ee - Z i =e eat —— . riéz # ral. +e a 8 3 = HE a4 = i ae aca Sea eis | | a ae “oe $Rstiy in| Ql. : “gee tf = | ig “yas wey ae) ith st a “et | Suis tty, 1 rm \ Heys * | “ye malin \ t fo) oes | oct 2 ney It 2] x : ' 11 salle | 2 o Neea aad $ # Let allarg, if J 1 LOE BAA AA MAAAMMAMMARARAAAAAAANAAAAATAAAAAAATATAIAATAWAAEtude N°5 Andantino Heitor Villa-Lobos AndantinoEtude N°5 Andantino {|? bol 1p a 1p re y = = —— Pp as Sr vweoser a MOR 033%M.E. 9333Etude N°6 Poco allegro Heitor Villa-Lobos Poco Allegro ee mm mm mmm AAA ARADADAAARAAABARAARABADDRAand50. Etude N°7 Trés animé Heitor Villa-Lobos : amaaana 444444 444d bbhbhhh hhmhMmhR QA GAGA AKhaA dh aanhna nananee ee ME. 9333Cone ec ae a eee a I * sur te chevatet (sul ponticello) een ~ Sem MMAR AARARARAAAAAAAAATARATARAAAADAAAARADAADEtude N°8 ModeéréywerPPPeO PPP RP PPP P PPD PD EEE EEE EEE wring, a rempo M.E, 9333ME. 9333Etude N°9 Tres peu animé Heitor Villa-Lobos a en gg gk wee tt tM MMR RMA MRA ARMA AMAA KhMhanaanaAanaenaan RRARRARARARAARRARAARANAANAARAANANAANAAEtude N°10eet ste eFd —— ae ot SS ——— Se | 8245 ea ee ee SS SS FS ME. 9333. |Deprrerrrrre Tees fea Ree a SL SS aeersreree eg we we en Rh MMMM MAK MAA AMAA AABABBAAMABEDOOEtude N°11 Lent Heitor Villa-Lobos Lent = ° 8 Pid mossoSipe CeaeeeaeeaananeaaananhaannannanannaanaarnaraananananannanananaaaWe oF r PEPER = pm prep y pf oP. ee ee ee eee eeME. 9333Etude N°12 Animé Heitor Villa-Lobos Gi Geass (a aa eia a la waa m nn ean am AARaARaARADARADAADADAADAADADADEADODO”A= = et ee F vs? oie Part qlee 5 = Salita watt ss Be a GAP ae a f—= + ¢ iin perercrerriccerricry) Han aS ane ate reer reer eee ne eee neste eee are eae are eee eae ana OEE SC4 - ynrEr rac eereeere6t eis 15h et 29 bet fa RB eee eee eee eee eee eee rd ME. 9333 .ME. 9433ePewpvwppepereepereuerperreaeyoueveeeaenevyeeeeae di -~ ser rer w wr were ‘ 4 Mindinba CINQ PRELUDESPrélude N°1 in E minor Heitor Villa-Lobos76 pened aed poco altars a tempo guess nin Apa eee eee te eee eee a Ee eee R REE eel agg CEE Eda Ar PCRS NN EU Euan TOTP CEOPid mosso “* u tl Eo ky ‘t , TEI i it (] " 4 ole i = 7 7 te i e, 4 \ 3 | i at | s ‘t i | * + CONS fy $1 : nik »] ‘\ | NE] (| ( | ste toe ae TAINS | “N i q iy ih DS. al Codag » ee obry # oe eo 8 te 2 3 a ME. 933378 $iCoda tempo Tempo primo er Gti: poi eh T F * . Fie oe CATR a FT a ee Bi RR ae. ET Toe ‘sre, nm mm MAM AAARARARAANRAANAARAAAADAAAADAAa tempo poco allarg. a a a ME. 9333Prélude N°2 in C minor Heitor Villa-Lobos it, a tempo rit, a tempo = I ian Tt. ig TF 35 ss a> ae Fete gi p= Teal gen el Ge ro F , ba RE Pee oy : ers yg osteo) = eee oF ns Geers nee Eames ee tw amandaPrélude N°3 in A minor Heitor Villa-Lobosgigeg 2 <2 fo fo terete ea py {ee se (re ey DSS al Codasy CodaPrélude N°4 in E minor Heitor Villa-Lobos _, @® &——— CELE FERED ME, 9333 PRL PIS amegis Wt PRES - + . poScet "iE add ME. 9333BreoOPEoDEeVDDYEKRPDVDPVDVROSPRTeRoeFTeTPePeeeeeeeeee ee ee a i 4 4 8 axes Hi ~Ahdlig Heitor Villa-Lobos wn Zz © = we re ail : 5 > 11 = Ae a ya mm ‘II 4 g i : oR poco rall,frp tp ae sais aig | eee all ial doth hppdah = a a a a ad Notes on the Harmonics Chéros—No. 1 Line 28, final measure. In spite of the statement (which appears on the cover of the sheet music editions) Seule edition corrigée et conforme a mon manuscrit original,” the harmonics seem to defy logical interpretation. The 1920 edition of Arthur Napoleao Lids, stows the harmonics at the fifth fret of the first and second! strings. However, this edition was revised and fingered by Pavlo Barreiros, and is therefore not a reliable source. The current edition does not follow Villa-Lobos’s customary notation (.e., uses 1), @), and 3) rather than ‘£), (B), ‘G), ete.). So applying his usual rules yields a meaningless result The correction which least alters what appears in the score is to change the ©) to 5). Seventh-fret harmonics done on the fourth and fifth strings yield the notes shown— ile., E and A—and this is presumably the intention Suite Populaire Brésilienne No. 1: Mazurka—Chéro Line 15, measure 2. The 8 harm. may be taken to mean the familiar axmonicas octavados of Tarrega; i.e, artificial harmonies done with the right hand. Alternatively the intention may be have been simply that the harmonics should sound an octave higher. This may be achieved by playing natural harmonics at the filth fret—a somewhat more predictable method No. 2: Schottish—Chéro Line 5, measure 1 The intention is clearly for harmonics on the first gwo strings at the seventh fret followed by the fifth Line 21, measure 2 Ja: Tarrega’s notation the harmonics would be drawn thus:92 Valsa—Ch6ro Line 21, measure 7. ‘Tarrega’s nosation for the harmonies would be: (8 No. 4: Gavotta—Ch6ro Line 23, measures 3 and 4 ‘Térrega’s notation for the harmonics would be: Cing Préludes Prélude No. 1 Line 14, measure 1 ‘The chord on the second half of the first beat is almost certainly intended to be played using harmonics at the twelfih fret as in the next line. Prélude No. 4 Lines 9 through 11. ‘The harmonics in Tarrega’s notation would be: Moderato Gren 5 nn ahhh EE COO OCEOTTEDouze Etudes Etude No. 1 Line 16. ‘The harmonics in Térre 's notation would be Etude No. 2 Line 13, measures 2 and 3. ‘The indication m.d. is for right hand (main droite), m.g. for left hand (main gauche). The double harmonics can be played by doing natural harmonics with the left hand and octave (artificial) harmonies with the right. ar. 8 = = = = - F a Etude No. 3 Line 13, final measure. ‘A meaningless A3 has been corrected to AS. The presumed intention is. on™a 94 Etude No. 5 Line 21, final measure. The haemonics in Térrega’s notation would be: Etude No. 8 Line 19, final measure. Probably: x CETTE TCAECTCAEEKC LCA ETC TCL TTL LTLELELLALALALULALAALARL_ILARAARLETEY