33 етюди

Michael Hendrix
22 for You
For a single performer
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22 For
YOU!
Twenty Two Original Etudes

For Classical Guitar
Written by
Michael A. Hendrix
Copyright © Michael A. Hendrix Music (ASCAP)

www.michaelhendrixmusic.com
All rights on this work are reserved to the copyright owner(s). Any unauthorized use, especially making copies and performing
the work publicly, may be prosecuted. Refer to www.musicaneo.com to see if licenses for public performances are available.
22 FOR YOU!
Twenty Two Original Etudes

Student Inspired
Written for Classical Guitar
To all of my students, I hope you have enjoyed our musical adventure

together as much as I. You are the inspiration
for this book. Thank you.
Michael
All rights reserved

All titles are under copyright
All rights on this work are reserved to the copyright owner(s). Any unauthorized use, especially making copies and performing
the work publicly, may be prosecuted. Refer to www.musicaneo.com to see if licenses for public performances are available.
Table of Contents
3. Practice Makes Habit ...
4. Authors Preface Yada! Yada! Yada! .
5. Etude #1 Arpeggios and Scales, Free Stroke and Rest Stroke ..
6. Etude #2 A little music box, light and delicate .
7. Etude #3 Lots of position changes, no fair looking ...
8. Etude #4 Arpeggio in the Alberti style, a Scale here and there .
9. Etude #5 Arpeggio with accented A finger, ascending Scales... ...
10. Etude #6 ...Arpeggio with accented A finger
11. Etude #7 ...Scales, up and down the board, Cmaj .
12. Etude #8 ...Lots of single note playing. Rest Stroke fingers, Free thumb
13. Etude #9 ...I use this one to get students ready for Leyenda .
14. Etude #10 .Another little romp from Arpeggio to Scalular activity .
15. Etude #11 .Some Arpeggios, Slurs and Scales. The big three ..
16. Etude #12 .Rasgueados and Scales. Olay!................................................
17. Etude #13 .Arpeggios and Scales all the way up the board ..
18. Etude #14 .Kind of a Spanish flow. Some Scales and fun Slurs ... ...
20. Etude #15 .Grace Notes with a feline attitude ..
22. Etude #16 .Arpeggios and Scales. Very Technical. Rest and Free ...
24. Etude #17 .Drop D, lots of Slurs, work on your legato
26. Etude #18 .A somewhat eccentric gigue ...
30. Etude #19 .Slurs, rocky rolly Slurs. Enjoy!..............................................
31. Etude #20 .Arpeggio based work. In the Romanza fashion ..
32. Etude #21 .The works. A little of this, a little of that ...
34. Etude #22 .Country styled Arpeggio piece...
36. About the Author .More Yada! Yada! Yada!.......................................................
37. Other Arrangements and Transcriptions ..

Available at www.musicaneo.com
PRACTICE MAKES HABBIT!
michaelhendrixmusic.com
4
Author s Preface
Dear Guitar Enthusiast,
Welcome! I hope you will find something within the pages of 22 for You that you will
enjoy playing. Etudes are typically pieces designed to facilitate the development and
mastery of a specific technique. That being said, most of the works in this book follow
suite but some were written simply for good old fashioned guitar playing fun, BURN!
I do not subscribe to the idea that we earn our technique through our pieces. Quite the
contrary. I am a firm believer in a full program of diligent technical study i.e. Scales,
Arpeggios, Slurs and Specialized Exercises designed to improve stretching, reaching and
playing scary guitar.
A couple of basic concepts;

One, I suggest you learn to prepare by touching what you are about to play before you
play it. Initially, this may prove to have a somewhat negative effect on your sound but I
believe the security of touch and the reduction in errors, which is a direct result of the
preparing/planting process, will be of greater advantage. It s easier to loosen up than
tighten up.
Two, in these pieces I suggest you try this approach. If it s an arpeggio play it free stroke.
If it s scalular or single note in nature play it rest stroke.
Please feel free to contact me via e-mail with any questions or comments you might have.
I hope you will enjoy the tunes.
Take care,
Michael
Many thanks to .
All of my wonderful students who were the inspiration for these works.
Special thanks to Founder and Director of the International School of Music, Saro
Mangasarian.
Special Thanks to my friend and colleague Michael Camp for his help in proofreading
and preparing the manuscripts.

Etude #1 for Raffy Tavidagian
5
Michael A. Hendrix
(b.1952-)
Presto q =176
  Ï 3Ï4 Ï
### 4 j2 Ï jÏ 

j2 Ï jÏ
1
Ï Ï 4Ï 1
& 4 1 ä Ï Ï ä Ï Ï Ï Ï 1 2 ä Ï Ï ä Ï Ï
0 ú ú 0 ú ú
1 1 3 1

###4 Ï 3 Ï 1 Ï 4 Ï 2 Ï Ï j 2Ï j Ï
4
& Ï Ï ä Ï Ï ä Ï Ï Ï 2Ï
Ï Ï 4Ï 1
Ï

1
0 ú ú 0 Ï 1
Ï3 4
3 1 1
1
### ä j 2 Ï j Ï
7
& Ï Ï ä Ï Ï 2Ï 1Ï 4Ï Ï ä 1 Ïj 0 Ï 1 Ï ä Ïj Ï Ï
4Ï 3 Ï Ï Ï
0 ú
 1 0
ú
1 1
ú ú
1
10
###  Ï j Ï j Ï  
Ï3 #Ï 4 4 Ï3 #Ï Ï
& Ï 1Ï 2
Ï4 Ï ä 1Ï 1Ï
ä Ï Ï 4Ï 2 Ï Ï
Ï 4Ï 2 Ï
1 0 1
4 1
ú ú
2
### j 0
13
j j 0Ï ä j Ï
& ä 1 Ï Ï1Ï ä Ï Ï Ï 4Ï#Ï 2 Ï
ä Ï 1Ï Ï Ï 2 Ï#Ï1
Ï Ï
4 2 Ï0 Ï Ï
Ï 2 Ï 4Ï 0Ï 2 4 2Ï Ï
1 1
ú ú ú ú
 2 Ï 1 Ï 3 Ï 4 Ï
3/2CII
### jÏ 
Ï 
17
Ï 4Ï 1
Ï nÏ 4 Ï Ï Ï ä Ï
& Ï #Ï1 2Ï 4Ï 1
Ï
Ï Ï2 Ï 0 ú ú w
2
2 Ï4 0
4

6
Etude #2 (Sweet Sixteen) Michael A. Hendrix
for Nareh Nikolaian (b.1952-)
Ï  Ïj ú Ï
Moderato q =108
j j Ï Ï Ï
Ïj Ï Ï Ï Ï
3/3CII
#4 ä Ï Ï Ï Ï Ï Ï
ä Ï
1
ä Î ú
4
& 4w
4
w
2 2 2 2 2 2 4 4 2
1 1 1 1 1 1
w ú
0 2
0 0
0 0
mf
j
#ä Ï Ï Ï Ï Ï Ïj Ï Ï Ï Ï Ïj Ï Ï Ï Ï w
5
& w ä ä Ï Ï ú
2 2 4 1 3 2 4 2
1 1 1 1 1 1
w
0 0
0
2 w 0
0
0
Ï  Ïj ú
gl i s s .
Ïj Ï Ï Ï Ï Ïj Ï Ï Ï Ï
3/3CII
# Ï Ïj Ï Ï
9
& ä Î ú ä Î ú Ï
4 4 4 4
2 1 2 4 2 1 2 2 1
ú
0 0
w
4 1 2
0
w w
3 0
13
# Ïj Ï Ï Ï Ï Ï Ïj Ï Ï Ïj Ï Ï Ï Ï w
& ä Î ú ä Ï Ï Ï Ï Ï w
Ï Ï ú
2 2 4 4 2 3
1 2 2 2
w
0 0 0
w
4 1
1 1 3 1 0
0 0 0
w
3 0 0
j
Ïj Ï Ï Ï Ï
j Ï Ï Ï Ï  Ïj ú
# ä Ï Ï Ï ÏÏ Ï Ï
äw Ï Ï Ï Ïî Ï ú Ï
17
Ï ä Ï Ï
4 4 4
& w
2 2 2 2 2 2 4 2
1 1 1 2 1 2
w Ï ú
0 1 3
1 0 0 1 3 3
0 1 1
0
0 0
mf
U U
Harm15RH
j j ÏÏ Ï j ÏÏ Ï ú
# ä Ï Ï Ï ÏÏ ÏÏ Ï Ï ú ú O
21
ä Ï Ï Ï ä Ï ÏÏ Ï Ï Ï bú nw
4 4
& w úú w
2 2 2 2 2 4 4 4
bú
1 1 1 2 2 2
w
0 0
w
1 0 0 3 3 3 0
w
0 1 1 0 1 0 0
0 1
3 3
3

Etude #3 for Vahagn Sahakyan
7
Michael A. Hendrix
(b.1952-)
Allegro q =160
1
# 4 j Ï Ï Ï Ï #Ï Ï #ÏnÏ#Ï j Ï Ï Ï Ï #Ï Ï Ï #Ï Ï
j Ï Ï Ï j Ï Ï Ï
& 4äÏ ä #Ï äÏ ä #Ï
4 3 4 4 3 4 4 3 4 4 3 4
0 3 0 0 3 0
w w w w
2 1 1 2 1 1
ÏÏÏ Ï #Ï Ï Ï #Ï Ï nÏ Ï Ï
4
# ä jÏ Ï Ï ä Ïj Ï Ï Ï
4 3 4 3 4
5
ä #Ïj Ï Ï Ï ä #Ïj Ï Ï Ï
4 4 4 3 4
3
& Ï 0 3 0 0 3 0
w w w w
2 1 1 2 1 1
ÏÏÏ
4 3 4 #Ï nÏ #Ï
4 3 4 Ï # Ï Ï Ï # Ï Ï Ï Ï *HSH 2 1
4
2 1
4
1
jÏ Ï Ï
# j
2
9
& ä Ï 0
ä #Ïj Ï Ï Ï 3 0
äÏÏÏÏ â0
w w w
2 1 1 2 1
13
j Ï Ï Ï Ï #Ï Ï
# #ÏnÏ#Ï j Ï Ï Ï Ï #Ï Ï Ï #Ï Ï
j Ï Ï Ï j Ï Ï Ï
& äÏ ä #Ï äÏ ä #Ï
4 3 4 4 3 4 4 3 4 4 3 4
0 3 0 0 3 0
w w w w
2 1 1 2 1 1
ÏÏÏ Ï #Ï Ï Ï #Ï Ï nÏ Ï Ï
4
# j ÏÏ j
4 3 4
17 4
ä #Ïj Ï Ï Ï ä ÏÏÏÏ ä #Ïj Ï Ï Ï

3 3
4 4 4 4
& äÏÏ
3
0 3 0 0 3 0
w w w w
2 1 1 2 1 1
nÏ Ï Ï
4
3 4 #Ï nÏ #Ï
4 3 4 2 Ï #Ï Ï 1 4
#j Ï Ï Ï j
21
& ä Ï 1
0
ä #Ïj Ï Ï Ï 3 0
ä Ï Ï Ï Ï 1
0
w w w
2 1 2
Ï #Ï Ï Ï Ï Ï ú ú   ú
ú Ï Ï ú ú Ï
2 1 4 2 4 4
1 3
#
24 1
Ï Ï ú Ï Î î
3 4 4
&
1
Ï Ï ú ú Ï Ï ú ú Ï
1 1
ú ú
sfz
*HSH = Play the harmonic on the first string Copyright © Michael A. Hendrix Music (ASCAP)
at the edge of the sound hole. www.michaelhendrixmusic.com
8
Etude #4 for Carlos Tobon
Michael A. Hendrix
Andante q =88 (b.1952-)
Ï Ï
1
2Ï 0 Ï
& 4 Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
1 0 1
ú ú
1
Ï Ï
1 0 1 1 0 0
0
Ï Ï
0 0 2 0 2
0
2 2
3 0 3 0
2 2
3 3
5
Ï Ï
& 0
Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï
1 2 2
0
1 2 2
ú ú
3 3 0 3 3 3 0 3
Ï Ï Ï Ï
2 1 2 1
0 0
0 0
1 1
 j j 4/4 CV
Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï  3 Ï Ï Ï Ï Ï Ï Ï Ï Ï 2 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï
9 1. 2.
Ï Ï
3 4 4
Ï
1
& 4 4 #Ï Ï
1 1 4
0 0 4 4 0
1 4 1 0 0 0 1 1
0 0 1 2 3
2 2 3
Ïj Ï  j Ï j j
4/4 CIII
12 Ï Ï Ï Ï Ï
Ï Ï Ï Ï
& nÏ Ï Ï Ï #Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï bÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
4 4 4 4
1 2 1 1
1 3 1
3 1 1 0
2
ÏÏÏÏÏ Ï ÏÏÏÏÏ Ï Ï Ï
16
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏ Ï Ï ÏÏÏ Ï

ú Ï Ï Ï Ï Ï Ï ú Ï Ï Ï
1 4 2 4 0 1 0
0 0 2 0 2 0 2 0 1 0 0 1 1
1 0 0 0 0 0
Ï Ï
0 2
Ï
2 2
0 3 0 3
2
3 1 3 3
Ï
21
Ï Ï
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï #Ï Ï Ï Ï ÏÏ Ï Ï Ï
1 0 0
0 1
Ï
1 2 2 1
ú ú
0 0
Ï
2 3 3 3 3
Ï
0
Ï
2 1 2
0 0
2 0 0
3 1
ÏÏÏÏÏ
25
Ï Ï Ï
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ú Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï
1 0 0
4 1 4 4
Ï
0 2 0 0 1
Ï Ï
2 2
Ï
0 0 0 0 0
2 0
0 3 0 3 3
2
3 1 3

Etude #5 for George Freedman
9
Michael A. Hendrix
> >
Prestissimo q =192 (b.1952-)
1
4
& 4 ä 2 Ïj 0 Ï Ï 1Ï Ï 1Ï ä j 0Ï 4Ï
3 w
Ï Ï Ï 3 Ï 0Ï 2Ï 4Ï 0 Ï 2Ï 0 w 0Ï Ï Ï Ï Ï
2
4 > >
& Ï Ï 4 Ï0
Ï 2 Ï 0 Ï ä 2 Ïj 3Ï Ï 1 Ï Ï Ï Ï Ï Ï 4 Ï0
Ï 2 Ï ä 0 Ïj 0Ï Ï 0 Ï Ï Ï Ï
Ï Ï0
2 3
2
0 w
Ï Ï0
0 Ï2 4
2
3
w
8 > >
& Ï 0Ï
ä j 0Ï 2 Ï Ï Ï ä j 0Ï 1 Ï Ï
Ï Ï Ï0 Ï2 Ï Ï Ï Ï Ï Ï Ï Ï0 Ï 2 Ï 2Ï Ï Ï Ï
Ï 1w
Ï
1 Ï4 0
4 4
w
3
2 4 2 4
3 0
> j
j 4Ï 1Ï
Ï Ï Ï
12
& ä Ï Ï Ï Ï Ï ä 1 0 4 Ï 1Ï 0 Ï 2 Ï
4
Ï Ï 2Ï w 0Ï ä Î î
Ï
Ï 1 Ï 4Ï 0 Ï 2 4 J
2
0 0
>
& 0 Ï 0 Ï 2 Ï 0 Ï 1 Ï 2 Ï 0 Ï 1 Ï 4 0 Ï 1 Ï 4 4 1 Ï 0 Ï  w
15
Ï Ï0Ï Ï ä j 0Ï 1 Ï Ï
Ï Ï Ï ú 
Î
2Ï
3
ú ú ú ú 3

10
Etude #6 for Alice Zackaryan
Michael A. Hendrix
(b.1952-)
Andante q =88
#4 Å Ï Ï Ï Ï Ï Ï Ï Å Ï Ï Ï Ï Ï Ï Ï
1
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï4
Ï Å Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
4 4
& 4w
3 3
wÏ Ï Ï Ï Ï Ï Ï Ï w
0 0 3 0
1 1
2 2
0 0 0
4
#Å Ï Ï Ï Ï Å Ï Ï Ï Ï Ï Ï Ï Å Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï
4 3 4 2 4 3
& wÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
0 0 0
1
0 w w 3 2
3/3 CII
#Å Ï Ï Ï Ï Ï Ï Ï Å Ï Ï Ï Ï Ï Ï Ï Å Ï Ï Ï Ï Ï Ï Ï
7 4
& Ï Ï Ï Ï Ï Ï Ï Ï wÏ Ï Ï Ï Ï Ï Ï Ï wbÏ Ï Ï Ï Ï Ï Ï Ï
4 3 1 4
3 2 0
1 2 1
w
1 3
0 0
0
3/3 CII 3/3 CIII 3/3 CV
Ï
# Å Ï Ï Ï Ï Ï Ï Ï Å Ï b Ï Ï Ï Ï Ï Ï Å Ï Ï Ï Ï Ï Ïn Ï Ï Ï Ï Ï Ï Ï Ï
10 4 4 3
4 3 1
& wÏ Ï Ï Ï Ï Ï Ï Ï wbÏ Ï Ï Ï Ï Ï Ï Ï w
3 1 1 3
2 1 1
1 1 1
0 0 0
#Å Ï Ï Ï Ï Ï Ï Ï Å Ï Ï Ï Ï Ï Ï Ï Å Ï Ï Ï Ï Ï Ï Ï
13
4 4
& wÏ Ï Ï Ï Ï Ï Ï Ï wÏ Ï Ï Ï Ï Ï Ï Ï wÏ Ï Ï Ï Ï Ï Ï Ï
3 4 3 3
0 0 0
1 1
2 2
0 0 0
#Å Ï Ï Ï Ï Ï Ï Ï Å Ï Ï Ï Ï Ï Ï Ï
16
4 3
& wÏ Ï Ï Ï Ï Ï Ï Ï wÏ Ï Ï Ï Ï Ï Ï Ï
0 4
2 0
1
0 3
#Å Ï Ï Ï Ï Ï Ï Ï Å Ï Ï Ï Ï Ï Ï Ï Å Ï Ï Ï î
18
4 3 4 4
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
0 3
1
w 2 w ú Ï Î 0
3

Etude #7 for George Freedman
11
Michael A. Hendrix
Moderato q =112 (b.1952-)
1
& 44  Ï 1 Ï 2 Ï 4 Ï 1 Ï 3 Ï 4 Ï 3 Ï 1 Ï 4 Ï 2 Ï 1 Ï Ï 1 Ï Ï Ï 1Ï 3
Ï 4Ï 2 Ï 4 Ï 3Ï 1Ï 4Ï 2 Ï
Ï
2Ï 2Ï 4
2 4
4 4
Ï 4Ï 3 Ï 1Ï 4 Ï Ï Ï
3
Ï 4Ï 2Ï 4 Ï 3Ï Ï
& 1Ï  2 Ï 4 Ï 1 Ï 3 Ï 4Ï 2
1 4 Ï Ï 2 Ï 4 Ï 1
1
Ï 3 Ï 4 Ï 1Ï 3
3 1
2Ï
1Ï 4Ï Ï 1Ï 3
Ï 1Ï 4 Ï Ï
& 4 Ï  1Ï 3 Ï
Ï Ï
5
Ï Ï 3Ï 4 Ï Ï Ï Ï 3Ï 4 1Ï 4Ï
3 Ï Ï 1 Ï 3 Ï 4 1Ï
1 3 1 1 3
4 4
4
Ï2 Ï4 Ï 1Ï4Ï2Ï1Ï Ï 2 4 Ï1 Ï2 Ï4 Ï1 Ï3 Ï 44 Ï  3 Ï 1Ï 4Ï2 Ï
 3 Ï Ï1 Ï1 Ï3 Ï1 Ï3 Ï1 Ï2 Ï4 Ï1 Ï4
7
Ï Ï Ï
& 3Ï 4 1Ï 4 2 4
4
1 4
Ï 1 Ï 4 Ï 2 Ï Ï Ï 2 Ï 4 Ï 3 Ï 1 Ï  4 Ï 2 Ï 1Ï 4Ï 2 Ï Ï Ï 4 Ï 1 Ï 3 Ï 4 Ï 3 Ï
10
4Ï 2 Ï Ï 2 Ï 4 Ï 1
3
& 1Ï 3
1
1 1
Ï 4 Ï 3 Ï Ï Ï 1 Ï 4 Ï  3 Ï 1Ï 4 Ï Ï Ï
12
& 1 4Ï Ï
1Ï 4Ï 1
Ï 3 Ï 4Ï 1Ï 3 1Ï 4 Ï 2 Ï 4Ï 1
Ï 3Ï 4 Ï 1Ï
1 4
3 3
Ï 
Ï Ï 2Ï 1Ï 2Ï4Ï 1Ï3Ï3Ï4 1 Ï 4 Ï3Ï1Ï4Ï 2Ï1Ï 4 1Ï 2Ï4Ï1Ï 3Ï2Ï 24 4 Ï 3Ï1Ï 4Ï 2Ï 1Ï 4 
14
Ï 1 Ï 4Ï 3Ï 1 4 Î
&
3
Ï Ï 2Ï

12
Etude #8 for Aren Kortoshian
Michael A. Hendrix
Moderato q =100 (b.1952-)
3 3
ÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏ Ï
Ï
ÏÏÏÏÏÏ ÏÏÏÏÏ
1 3 etc.
4 Ï
&4 ú Ï Ï 4 0 1
4
1 0 4 4 0 1 0 4 4 0 2 4 1 0 4
ú
1 1 1 1 2 2 1
ú
0 0 0 0
3
2 ú 3 1 ú ú
ÏÏÏÏÏÏ ÏÏÏÏÏÏÏ Ï ÏÏÏÏÏÏÏÏÏÏÏÏ

4
Ï Ï ÏÏ Ï Ï Ï Ï
& Ï#Ï Ï
4 4
nÏ
0 0 1 1 0 1 0 0 2 1
4 1 4 4 4 0 2 4 0 4 1
nÏ Ï ú
1 2 0 1 0 0 1 4 0 0
ú
1 1 2
ú ú ú
2
ú
0
ú
3
2 2
3 1
3
ä Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï#Ï
8
ÏÏ
& Ï #Ï Ï Ï Ï #Ï
1
Ï
0 0 0
ú
4 4 4 4
ú
0 1 1 1 1 1 1
ú ú
1 2 0 0 0
nÏ Ï
2 2 2
Ï
3 0
2
ÏÏÏÏ ÏÏÏÏ ÏÏÏÏ

m i m m i m
11
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 3
& ÏÏÏÏ 4
1 4
Ï
0 0
ú ä ÏÏ Ï
4 4
ú
1 1 1
ú
2 0 0
ÏÏÏÏ ÏÏÏ 2
3 0
3
p i p p i p p i
Ï ÏÏÏÏÏ ÏÏÏÏÏÏ
m
ÏÏÏ Ï
14
3
&4 Ï 4
4úÏ Ï Ï Ï Ï Ï Ï Ï 1 0 0 1
4
1 0 0 1 0
Ï ÏJ ú
4 4 4 4 4
Ï Ï
1 0 1 0 1 1 0 1
ÏÏÏ Ï Ï Ï #Ï
J
3 3
3 2 2
3
p 3 2
i
3
ÏÏÏÏÏÏÏÏÏ Ï ÏÏÏÏÏ ÏÏÏÏÏÏÏ

17
& Ï Ï Ï #Ï nÏ Ï Ï Ï 0 2 4 1 0 0 0 1 4 1 0
n Ï J Ï ÏJ Ï
4 4 4 4 4
Ï
2 2 1 1 1 1
ú Ï Ï
0 0 1 2 0 0
Ï #Ï
2
nú
0
1
ú J 3
0 2
3
2 3
2
3 3 32
ÏÏÏÏ Ï Ï
ÏÏÏÏÏÏ ÏÏÏÏÏ ÏÏÏÏÏÏÏÏ
20
& ÏÏÏ
4
ÏÏ
1 1 1 1
Ï ÏÏ Ï
0 0 0 0 0
Ï
4 4 4 4 4
Ï
2 2 1 1 1 2 2 1
Ï Î
0 0 0 0
nÏ J J Ï Ï Ï
0
Ï
0 2
3 3 3
2 2
3 3 1 3
1 3
3
Etude #9 for Charlie Hexmind
13
Michael A.Hendrix
(b.1952-)
Andante q =92
Rasgueado 3 3 3 3 3
#### 3 0 ÏÏ
etc.
1
ÏÏ Ï Ï Ï Ï Ï
& 4 ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï ÏÏÏÏÏ ÏÏÏ


Ï Ï Ï
2
1 2 2 1 1 1 1
Ï Ï
3 4 3 3 4 3
1
2 2 2
mf
#### Ï
3
ÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï
& ÏÏ Ï Ï Ï ÏÏ


Ï 1
Ï 4
Ï
2 2 1 1
Ï
1
Ï 2
1
Ï Ï
3 3 3 4 3
1
2 2 2
#### nÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï nÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

5
& n ÏÏä Ï nÏ nÏ n ÏÏä Ï Ï nÏ Ï



nÏ
1
2
3
Ï Ï 3
nÏ Ï 2
3
1
2
3
2
3 2
0
#### nÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï nÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

7
& nn ÏÏäÏ Ï nÏ nÏ Ï Ï nn ÏÏÏ Ï Ï nÏ Ï Ï



1 1
2
2 3 2 2 3 2
3 3 3
0
#### nÏ Ï Ï Ï Ï Ï Ï Ï ÏÏ ÏÏ  ÏÏ î
Ï Ï  ÏÏ
Ï Ï
9
Ï ÏÏ Ï Ï

& nÏ Ï nÏ n Ï
4

4

Ï #Ï Ï Ï Ï Ï ÏÏ ÏÏ Ï
1 3
3 1
3
Ï
2 1 3
0 2 2 2
3

14
Etude #10
(Raffi's Rapscallion Roundup) Michael A. Hendrix

Moderato q =120 for Raffi Kotoyan (b.1952-)
3
Ï
3
ÏÏÏÏÏÏ Ï Ï Ï
etc.
### 4 Ï Ï Ï ÏÏÏ
3
ÏÏÏ ä ÏÏÏ ÏÏÏÏÏÏÏ

1 3 4
& 4 ä ÏÏ ä ÏÏ
4 4 3 4 2 1
4 4
 w
3 1 2
0 4 2 0 3 0 1
2 1 4 2 2
w w
1 0 2 1
2 1 1
 Ï Ï Ï Ï Ï  3/3CV  
0 0
mf
Ï Ï Ï Ï Ï Ï
### Ï Ï ÏÏ ÏÏÏÏ ÏÏÏÏ
4
Ï ä ÏÏÏ
4 4 3 4
Ï Ï ÏÏÏÏ
1 2
ä ä
1 1 4 1
1
& w
4 3 4 4
1 2 4 2
3 0 3
2 3 2
w
0 2
1 1
w
0
0
### ÏÏÏÏä ÏÏÏÏÏ ä ÏÏÏÏä ÏÏÏÏÏ ä ÏÏÏÏÏä ÏÏÏÏÏ

7
& ú ä Ï 2
Ï
0 2
ú
3 0 0 3 0
2 2 2
ú ú ú
1 1 0 1 1 1
1
ú
0 0
0 0 0
3
Ï
CV
Ï Ï
CIV 3
Ïj
# Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
3/3CII
# ÏÏ ä ÏÏÏ Ï Ï #Ï Ï
10
ä
3 4
&# äÏÏ
4 4 4 4 2 4
Ï
3 4 4 3 4 3
#Ï ú
1
#Ï
2 4 4
ú
0
ú
0
Ï
1 2
ú
3
0 2 2
Ï Ï n Ï Ï Ï Ï Ï # Ï Ï
3
n Ïj
Ï Ï Ï Ï Ï j Ï Ï
3
### ä Ï Ï Ï ÏÏÏÏ
3 4
3 4 2 3
Ï
13 1 1
Ï
2 1
ÏÏÏÏ
4 4 3 3 4 1 1
äÏ Ï
2 4 1 4
& ú
3

4 1
#ú
1 4
ú
0 2
3 2 1
w
1 4 2
 ÏÏÏÏÏ
ú
0
2 0
Ï
### ÏÏÏÏÏÏÏÏ ä ÏÏÏÏÏÏ ÏÏÏÏ ä ÏÏÏ ÏÏÏ
16 4 4 4 1
4 3
ä Ï
4 3 2 1 1 1 4
& Ï Ï
4 4 2 4 3
2 1
w
0 3 0 3
2 2
w
0 2 1
1 1
w
 
0
0
### Ï Ï Ï Ï Ï ÏÏÏÏ ÏÏÏÏÏÏÏ ÏÏÏ

19 3/3CV
Ï Ï Ï úä Ï Ï ä ÏÏÏÏÏ
4
Ï
2
ä ä Ï
1
1
& Ï
4 4
2 0 2 2 0
2 4 3 3 2 3 2
w ú
0 2 1 1
1 1
w
0
0 0
### ä Ï Ï Ï Ï ä Ï Ï Ï Ï ä Ï Ï Ï Ï ä Ï Ï Ï Ï ä Ï Ï Ï Ï Ï Î
22
4
& Ï Ï Ï Ï Ï
3
2 1
ú
0 0 3 2 0 0
2
ú ú
0
Ï
0 1 1 1
1 1
ú ú
0
0 0 0

Etude #11 15
  
for Sarkis Kavarian Michael A. Hendrix
(b.1952-)
Andante q. =88
Ï Ï Ï Ï Ï
#
## 6 Ï Ï Ï Ï Ï Ï Ï
1
Ï Ï Ï Å Ï Ï Ï
4
Ï
1 4
& 8Å Ï Ï Ï
2 2 1
3 3
ú
0 0 0 0
2 2
1 1 0 0
1 1

ú
 Ï  
Ï Ï Ï Ï Ï Ï
Ï Ï
mf
### Ï Ï
3
Ï Ï Ï Ï
4 4
& Å Ï Ï
1
Ï Å Ï Ï Ï Ï
2 2 1
3 3
ú
0 0 0 0
2 2
1 1 0 0
1 1
ú
Ï Ï Ï Ï Ï Ï
5
### Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
4
& Å Ï Ï
3 1 4
Å Ï Ï
1 3 1
1
ú
0 0
2 0
1 1
ú
Ï Ï Ï Ï Ï Ï Ï Ï
### Å Ï
7
Ï Ï Ï Ï Ï Å Ï Ï Ï Ï
4
Ï
3 1 4
Ï Ï
1
Ï
1 3
&
1
ú
0 0
2 0
1 1
ú
Ï Ï Ï Ï Ï Ï Ï
### Å Ï Ï
3/3CII
Ï
9
Ï Ï Ï Ï Ï
4
Ï Ï Ï Ï Å
2
Ï Ï
4
& ú Ï
3 4 3 1
1 1 4 0 0 0
2 2 0 0
1 4 0
1 1
ú
0
Ï Ï
H.12
Ï Ï
### Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
11
Ï Ï Ï â
2 1 4
& Åú Ï Å
3 3 1 4 1 1
4 3 1 1
1 0 0 0 4
2
1
ú
0
### Ï Ï Ï Å Ï Ï Ï Å Ï Ï Ï Å Ï Ï Ï
13
Å Ï Ï Ï Ï Ï Ï
4 4
& Ï Ï
3 4 3 4
Ï Ï
0 0 0 0
2 2
1 0 1 0
1 1
Ï Ï

### Å Ï Ï Ï Ï Ï Ï Ï Ï Ï  Ï Î 
15
Ï Ï Ï ÏÏ
4
& Ï
3
Ï
ú Ï Ï
1 4
ÏÏÏÏÏÏÏ
0 2
Î
2 1
1 4 2 4
1 4 1 3
2 0 4 3 0
2 0 1

16
Etude #12 (Free Kick)
for Daniel Gayramanyan
Vivace q =144
i i i i i i i i i i Michael A. Hendrix
(b-1952)
ÏÏÏj ä Ï 1 Ï Ï 1 Ï 4 Ï 0 Ï 1 Ï ÏÏj ä 0 Ï 4 Ï 1 Ï Ï Ï 1 Ï Ï
1
4Ï
& 4 132 ÏÏÏ
ÏÏÏ ÏÏÏ ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
Ï Ï Ï Ï 2 #Ï 2 0 1 Ï
#
3Ï
Ï ÏÏ
Ï
ÏÏ
Ï
ÏÏ
Ï
ÏÏ
Ï
0 2 #Ï 2
Ï Ï Ï Ï Ï
0
2Ï Ï Ï Ï Ï
i i i i i i i i i i
j ÏÏj ä 4 Ï nÏ2 0 Ï 3 Ï 1 Ï 0 Ï #4Ï 0 Ï

ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ä 0 Ï #Ï4 1 Ï 0 Ï 3 Ï 0 Ï #Ï 0 Ï
5
4
1Ï
Ï ÏÏ ÏÏ ÏÏ
& 1#ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
4
3Ï
Ï ÏÏ ÏÏ ÏÏ ÏÏ
3Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï Ï
2
2

i i i i i i i i i i
ÏÏj ä 1 ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ 2 Ï #Ï1 2 Ï 4Ï 4 Ï 1 Ï3 Ï 4 Ï

9
Ï ÏÏ ÏÏ ÏÏ 4 Ï
3 nÏ
& 302#ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏ 2 Ï #Ï 2 Ï 0 Ï #Ï 0 3 Ï Ï Ï Ï Ï Ïä
1
Ï Ï Ï Ï ÏJ
3
Ï Ï Ï Ï Ï
2
i i i i i i i i i i
ÏÏÏj ä 0 Ï 3 Ï 1 Ï Ï Ï 1 Ï 1 Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏj ä
13
Ï ÏÏÏ ÏÏÏ ÏÏÏ Ï
& 132nÏÏÏ Ï Ï Ï Ï 2 #Ï 2 1#ÏÏÏ ÏÏÏ ÏÏÏ ÏÏÏ ÏÏ 2 Ï 3 Ï #Ï1 2 Ï 0 Ï 1 Ï 3 0 Ï
Ï Ï Ï Ï Ï Ï
0
2Ï Ï Ï Ï Ï
3
i i i i i i i i i i i i i
ÏÏj ä 1 Ï Ï j
17
Ï ÏÏ ÏÏ ÏÏ Ï ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ Ï
& 321 ÏÏÏ ÏÏ ÏÏ ÏÏ ÏÏ 2 Ï #Ï 2 Ï 0 Ï 1 Ï 4 Ï 0 1 1ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ #ÏÏ ÏÏ Ï
1Ï ä Î î
2Ï
3Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï.
3 1
Ï
3 2
2

Etude #13 for Carlos Tobon
17
Michael A. Hendrix
(b.1952-)
Allegro q. =120
#### 12 Ï 2Ï 0Ï Ï Ï
1
0Ï 0Ï
& 8 Ï 0Ï 0Ï Ï Ï 0Ï 0Ï 2Ï Ï
4
4Ï 2Ï Ï 3Ï
Ï 3Ï Ï
4 2
1 1 1 1
Ï
3 1
2
Ï   
pp

poco a poco cresc.
#### 1 Ï 4Ï Ï
3
0Ï 0Ï Ï Ï
& 1Ï 0
Ï 0 Ï 1 Ï Ï 1Ï 0 Ï 1Ï 4Ï Ï
2
3Ï 1 Ï 4Ï 1 Ï
2 1
Ï
3
3
Ï
3
Ï
2
5
#### 2 Ï 1Ï Ï
  
0Ï 0 Ï 2Ï 1Ï Ï
4
& Ï
Ï 3Ï 3Ï 3 Ï 1Ï 3Ï
4
Ï 
1 0 0 1 1 0 3 1 4

2
4 Ï 1Ï 
#### 4 Ï 3Ï Ï  
7
Ï 0Ï Ï Ï 0Ï 4Ï 3 Ï Ï
& 3Ï
Ï Ï 3Ï
Ï Ï 2 Ï 1Ï 3 Ï
2Ï
1
Ï 
1 0 0 1 1 0 1 4
 
2 Ï 1Ï  
4Ï 1Ï Ï
#### 4 Ï 2Ï Ï
9
Ï Ï Ï Ï Ï 4 Ï 2Ï Ï 3Ï
3Ï 0Ï 0Ï 3Ï 0Ï
4
& 2Ï
Ï 
1 0 1 1 0 1
1

4 Ï 3Ï Ï 
4Ï 2 Ï Ï  
#### 3 Ï 1Ï Ï
11
3Ï
Ï Ï Ï 3Ï
Ï Ï 2Ï 1Ï 3 Ï
1
& 2Ï
Ï Ï Ï
1
Ï 
1 0 1 1 0 4
0 0 0

4Ï 2Ï Ï  
13
#### Ï Ï Ï Ï Ï
4 Ï 2Ï Ï
3 Ï 1Ï Ï

3Ï 3Ï 3Ï 1Ï 3Ï
1
2Ï
Ï Ï Ï
4
&
Ï 
1 0 1 1 0 4
0 0 0

4 Ï 3Ï  3Ï 
2Ï Ï 
1 Ï 4Ï
1Ï 4 Ï
2 1 Ï  2 ú
#### Î Î
1Ï 1 Ï Ï1Ï

1 4Ï Ï
15
&
Ï
3 0 3 0
2 0 0 0
ú
ff
18
Etude #14 (Over the Mountain)
Michael A. Hendrix
Adagio q. =66 for Hyon Ro
Ï Ï Ï Ï nÏ 
(b.1952-)
4/3 CIII
### 6 Ï
1 4/3 CII
& 8 ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï
nbÏÏ
4
Ï Ï Ï Ï
2 4 2 3
1
mf
4/3 CII
###
3
Ï Ï ÏÏ Ï Ï Ï Ï
& nÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï
Ï Ï
2 1 2 3
0 1 0 1 4 4
0 2 1 1 2
4
Ï
2 4
0
Ï Ï Ï Ï nÏ 
4/3 CII 4/3 CIII
### Ï
5
& ÏÏ Ï Ï Ï Ï Ï Ï Ï Ï
nbÏÏ
4
Ï Ï Ï Ï
2 4 3
2 1
mf
### nÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
ÏÏ Ï Ï Ï Ï Ï
7
& n ÏÏ Ï
3 4 1 2
Ï Ï Ï
Ï
4 1 0 0 0
1 2 1 2 1 2
0
Ï ÏJ
0
0
0
       
Ï Ï Ï Ï
### Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï
9 4
4
4 4 3 4
4 4 1 4 1 1
&
1 4 3 4
0 2 4 0 2 0 0 2
Ï Ï Ï Ï
    
f
3 3
3
Ï ÏÏÏ
3
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
# # Ï Ï Ï Ï
11
Ï Ï Ï Ï Ï Ï Ï Ï Ï
4 4 4 2 3
&#
2 4 4 1 3 3 1
2 4 2
1 3 1
0 1 0 0 1 0 0 0
0 0
Ï Ï Ï Ï
mp
Ï Ï Ï Ï nÏ 
3/3 CIX 3/3 CX 19
### ÏÏÏ Ï Ï Ï Ï Ï Ï Ï bnÏÏÏ

4
13 2 4 2 1 2
3
&
2
Ï
0 Ï Ï Ï
f
3/3 CVII
Ï Ï Ï Ï Ï Ï
### nn ÏÏÏ Ï Ï Ï Ï #Ï Ï Ï Ï
15 4 3 4 3
Ï Ï Ï Ï Ï
3 1 1
&
2 4
Ï Ï Ï
0 3 2
Ï
0 2 1 4
ÏJ
2
0
p f
Ï Ï Ï Ï nÏ 
4/3 CII 4/3 CIII
### Ï
17
Ï Ï Ï Ï Ï Ï Ï Ï
& ÏÏ nbÏÏ
4
Ï Ï Ï Ï
2 4 2 3
1
mf
### Ï Ï
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
19
nnÏÏÏ Ï Ï Ï Ï Ï Ï Ï
4
&
1 3
4 0 4 0 2 0
2 2 1 2 1
Ï Ï Ï
0 0 0
n Ï Ï 1 ÏJ Ï
3
3 3
### Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
3 3
21
Ï Ï
4 4 4
&
3 3 3 1 3
0 4 1 0 0 0 4 1 0 0
1 2 1 2 1 2 1 2
0 0
0Ï Ï Ï Ï Ï Ï Ï Ï
4/4 CII

### Ï Ï Ï Ï Ï Ï Ï ÏÏ Ï Ï Ï ú
4/3 CII
ÏÏ
23
Ï Ï Ï 78 ÏÏÏ úú ä Î
4


&
1 3 3
Ï Ï Ï
1
Ï ÏÏÏÏ Ï
0
ú
4 2 1 4
2
ÏÏ
4
ú ú
2 1 4
2 0 4
0 2

20
Etude #15 (Kitties On Parade)
Michael A. Hendrix
for George Freedman (b.1952-)
Adagio h =62
1
j Ï # Ïj 2 j 4Ï Ï Ï
4j 4
0Ï2Ï j #Ï 0 Ï j
ä 0 Ï 0 Ï 0 Ï 0 Ï 2Ï 0Ï
4
4 #
4
& 4 ä 0 Ï 0Ï 0 Ï 0 Ï ä 0Ï 0Ï 0Ï 1 Ï 0Ï
#ÏJ w #ÏJ w #ÏJ w

1 3 1
1 3 1
#2Ïj Ï4 0 Ï j #Ï Ï Ï #ÏÏ 0 Ï

4 4 j
j j
4
4 j
Ï Ï
4
1 Ï 0Ï Ï 1 Ï 0Ï
&ä Ï 0Ï 0 Ï ä 2Ï 3 Ï 0 3
0 Ï ä 0Ï
1
0Ï
w ÏJ n1w
0
#ÏJ J w
1 Ï
3
3
7
# Ïj Ï4 2w
# ÏjÏ4
j 0Ï Ï 2Ï Ï j Ï Ï 2Ï Ï
4 4
&ä Ï 0Ï
0
0 ä Ï 0
0Ï
0
0
w w w
0 0
#ÏJ #ÏJ
1 1
1 1
#Ï Ï 0 Ï # Ïj Ï
2 j 4
j Ï #2Ïj 4Ï 0 Ï 1 Ï Ï
10 4
j j 0 Ï 2Ï
4
& ä Ï Ï Ï ä Ï Ï ä
0Ï 0Ï 0Ï 0Ï 0Ï 0Ï
0 1 0 0 0 0 0
#ÏJ w #ÏJ w #ÏJ w

1 3
3 1
3 3
13
j3 Ï Ï Ï #Ïj
4
4 4
j 1 Ï #Ï ä Ï 0 Ï 1 Ï Ï ä jÏ Ï Ï # Ïj
4 4
3Ï Ï 2Ï Ï
4
&ä 2Ï Ï 0
0 ä 0Ï 0Ï
0
0Ï
0
0Ï
0
0
ÏJ n1w 1 Ï
J w #ÏJ w
1
1

 21
16
w #Ï3 #1Ï 3 Ï
& ä Ïj 0 Ï 1 Ï 0 Ï 1 Ï 4 Ï 0 Ï ä j 0Ï 4Ï 1 Ï 4 Ï 0 Ï ä Ïj 0 Ï 4 Ï 1 Ï 4 Ï
2
w 0 w
2
2
w0 Ï 2 w
1
3/3CII
Ï Ï j #4Ï Ï 3/3CVII 2/2CX
20
j 3 Ï #Ï
j #Ï Ï #2Ï Ï 2Ï
Ï 2Ï
Ï Ï Ï Ï Ï
4
& äw Ï Ï Ï ä
w
ä
0w
2 2
0 0
2Ï
4ú
j Ï  úú # ÏjÏ
gliss
1Ï
j Ï #2Ïj Ï4 0 Ï 1 Ï Ï
23 . 4 4
& äw ä 0 Ïj 0 Ï Ï 0 Ï 2Ï Ï ä
0
0Ï
0 Ï 0
#ÏJ w #ÏJ w
0
1 3
1 3
26
# Ïj Ï
4
#2Ïj Ï4 0 Ï j 3Ï 4#Ïj Ï 0 Ï 3 Ï 2
jÏ Ï 2Ï Ï ä jÏ
4 4
&ä Ï 0 Ï 0
0 Ï 0 Ï 1 Ï 0Ï ä 2Ï Ï 0 Ï Ï 0Ï
w w n1w
0 0
#ÏJ #ÏJ
1 3
ÏJ
1 3
Ï 
#Ïj Ï 0Ï # Ïj
29 4 4
j 1Ï j Ï Ï
4
1Ï 0 Ï Ï 0
&ä Ï ä 0 Ï 0 Ï Ï 0 3 0 Ï 2 Ï 4Ï 0w
4
Ï Ï
Î
2
#ÏJ ú w
0
1 Ï
J w 3
1 rit.
1
22
Etude #16 ("El Chinn")
for Hovig Alahoidoyan Michael A. Hendrix
(b.1952-)
Allegro con fucco q =160
3/3CV
3Ï4 Ï 3Ï
Ï
3 3 3 3
#Ï
etc.
1
0Ï Ï Ï Ï
& 44 2Ï 3Ï Ï Ï Ï Ï1Ï #Ï Ï0Ï 2 Ï 3Ï 1Ï4 Ï Ï Ï Ï Ï #Ï1 0Ï 2 Ï1 Ï 2 Ï1 Ï Ï
3
Ï 4Ï 1
mf
4
Ï 4Ï2 Ï Ï    Ï Ï
1 4Ï Ï
2 1 Ï Ï4
Ï2 Ï1 Ï Ï 2 Ï3 Ï Ï Ï Ï Ï1 Ï#Ï Ï0Ï 2 Ï3 Ï1 Ï4 Ï Ï Ï Ï Ï0 #1Ï0 Ï
1
&
Ï 4Ï
1
4
1
mf
3 Ï Ï 3Ï
   Ï4 Ï Ï1 Ï 3 Ï b1Ï 2 Ï #3Ï Ï Ï
3/3 CV 3/3CX
7
Ï #Ï
Ï Ï Ï Ï 1 Ï 4Ï 2Ï
4
Ï4 Ï 2Ï 1 2 Ï Ï1 Ï2
& 2 Ï1 Ï 2 Ï1 Ï
3
-Ï2 -Ï -Ï -Ï
1 4
mf p f

3/3 CX
Ï4 Ï 3Ï 1Ï 4Ï b2Ï 1Ï 3 b1Ï b2Ï4Ï 2Ï 1
 
> Ï Ï1 ÏÏ 2Ï
Ï Ï 2 Ï
1Ï
Ï >2Ï
Ï Ï Ï2 Ï1 Ï Ï #Ï2
10
3Ï
1 4
-Ï
1
-Ï -Ï -Ï
1
& Ï
1 3
Ï
3
mf

#3Ï Ï 1Ï
3/3CXÏ
4 3Ï Ï
1 4Ï b2Ï 1

1 Ï 3 Ï bÏ 2 Ï b1Ï Ï1 Ï Ï1 Ï
3/3 CX
13
2Ï
1
Ï > Ï Ï Ï 3Ï
1Ï 2Ï
1 Ï 3Ï
& -Ï -Ï -Ï -Ï - - - -
2 3
Ï Ï Ï Ï Ï
p mf
16
> Ï1 Ï1 Ï3 Ï b4Ï3 Ï1 Ï4Ï3 Ï Ï 
Ï Ï Ï Ï Ï0 Ï #1Ï0 Ï Ï
23
1 4Ï 1Ï 0Ï
& Ï3 3Ï Ï Ï Ï 3 Ï1
2Ï Ï Ï #Ï 2Ï 4Ï
Ï 4Ï 1
f mf
Ï Ï4Ï3 Ï 1 Ï 4Ï Ï -Ï -Ï -Ï -Ï
3/3 CV 3/3 CV
Ï Ï1 Ï #Ï Ï Ï
19
Ï 1 Ï4 Ï Ï Ï
ÏÏÏ Ï Ï
Ï
3 3
&2 Ï 2 1 Ï4 Ï Ï 3Ï
2
2 1Ï Ï
1 2
Ï
1
4
p mf
22
Ï Ï
-Ï -Ï -Ï -Ï 3/3 CIV ----
4Ï Ï Ï Ï Ï4Ï3Ï 1Ï 4Ï2Ï1 
4Ï Ï2 Ï 2Ï Ï Ï4 Ï2 Ï1 Ï2Ï4 Ï
#3Ï1 Ï #Ï Ï Ï
4
& 3Ï Ï
Ï Ï
p mf p mf
-Ï -Ï -Ï -Ï -Ï -Ï -Ï -Ï ----
3/3 CV 3/3 CIV
4Ï Ï Ï Ï
Ï Ï
25
Ï Ï 4Ï
ÏÏ Ï Ï Ï
& 3Ï Ï Ï Ï Ï 3Ï
#Ï3 1 Ï #Ï Ï Ï
2 2
Ï Ï Ï
p mf p mf p mf
28Ï4Ï 3Ï 1Ï 4Ï 2Ï  
1 Ï4 Ï
2Ï Ï 1Ï 0Ï Ï Ï Ï Ï Ï Ï0 Ï #1Ï0 Ï Ï
4
& 1 4 Ï #3
Ï Ï Ï Ï Ï 3Ï 1
2Ï Ï Ï #Ï 2Ï
Ï 4Ï
3
4
1
p
4 Ï
31
0Ï
& 3 Ï 1 Ï 2 Ï 3 Ï 1Ï Ï Ï Ï 3 Ï #Ï1 2Ï
3Ï
2Ï
3Ï
1 Ï 1Ï
Î
4
2
Ï Ï rit.
mf

24
= D
Etude #17 ("Then Again")
for Rocky Gilmore Michael A. Hendrix
Molto rubato q =112 (b.1952-)
1
### 4
4/3CII
Ï Ï Ï Ï ú Ï
Ï Ï Ï Ï Ï Ï ä j nÏ Ï Ï
4
& 4 Ï Ï
3
Ï
2 1 4 2 4
3
Ï
.3
Ï
.1 1 0
3 1 1 3
1
3
0 0
mf
ú
### Ï Ï Ï ú
Ï ú
4 4/3CII 4/3CII
Ï Ï Ï Ï Ï Ï
4
&
3
Ï #Ï
2 1 4 2
3
Ï Ï
.3 .1 3 1
1
0 0
### úú 
7 4/3CII
& ä j nÏ Ï Ï Ï Ï Ï 4
Ï
ä j Ï n Ï Ï Ï Ï
Ï
1
Ï j
0
Ï
0 0
n Ï
1 1 3
3 0
0 0 nÏ
3 3
10
### ú 
& ú ä j nÏ Ï Ï ú
nÏ nÏ Ï nÏ
4
Ï Ï #Ï
4 4 1
0
1
2
#Ï nÏ Ï
3 2
.1
mp
###
13
Ï Ï Ï nÏ Ï Ï
& ä j Ï nÏ 1
Ï Ï nÏ nÏ Ï
4
Ï Ï Ï Ï nÏ Ï Ï
4
j
0 0 0 0
nÏ n Ï
1
#Ï nÏ
2
0 3
3 3
1
ú  j
f mp
16
### Î Ï Ï ú
ú
ú ä Ï nÏ Ï Ï Ï Ï Ï Ï
4 4 4
& 2
1
3 1 0
0
0
1
1 nÏ 3
0
3
w p dolce

25
n Ïj Ï
###
19 ú Ï
Ï Ï ä nÏj nÏ Ï Ï
4
Ï Ï Ï
& ä ÏJ ú Ï nÏ nÏ Ï Ï
4 4 4
3
0
0
0
1
0
1 nÏ 3
0
3
1 3
0
0
0 3
### nú nÏ nú
22
n Ï Ï Ï Ï
& Ï nÏ Ï Ï ä j nÏ nÏ #Ï Ï Ï
4 4 4
0
nÏ
1 0
1
2
3
3
mp
### Ï nÏ Ï nÏ Ï Ï Ï nÏ Ï
25
j nÏ nÏ n Ï
4
& ä Ï nÏ #Ï Ï Ï nÏ Ï Ï
4 4
0 0 0
nÏ nÏ
1
3 1 1
3 3
p mf cresc.
   
A Tempo
### Ï #Ï Ï
28 4/3CII
Ï Ï Ï nÏ Ï Ï Ï Ï Ï Ï Ï ú
Ï
4 3
& nÏ Ï Ï
2 0 2 2 1 4 2
4
Ï
3
Ï
0 .3 .1 1
1 3
1 0
rit.
f
### ú
Ï ú
31 4/3CII 4/3CII
Ï Ï Ï Ï
& ä j nÏ #Ï Ï Ï Ï 1 4
Ï Ï Ï #Ï
2 1
Ï Ï Ï
0 .3 .1 3 3
1 3
1
3
0 0 0
mf
U
### Ï Ï Ï
úú
34 4/3CII
ú ä Ï
& Ï j nÏ Ï Ï Î
4
Ï Ï
3
ú
4 2 4
Ï
0
w
1 3
1 1 3
3
0
0
rit.
rit. p

26
Etude #18 ("Gayka's Gigue")
for Gayane Vardoyan Michael A. Hendrix
(b.1952-)
Allegro Con moto q. =120
. j . j
5/5 CII
1 Ï Ï Ï Ï Ï Ï Ï
### 11 Ï Ï Ï Ï Ï
4 3
4 4 1 3 1
& 8
1 2 1 4 1 4
1 1 4 1
Ï
0 2 0
Î Ï Ï Ï
Ï Ï Ï Ï
0
0
mf
. j 5/5 CII 5/5 CIII CIII
### Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 12 Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï 11
3
4
8 nÏ  8
3
&
1 3
nÏ 
0 1 1 4 1 1 4 1 4 4
2 2 1 1
Ï Ï Ï
3 2 3
Ï Ï Ï 1 1
1
1
j . .
Ïj Ï Ï Ï Ï Ï Ï Ï
5/5 CII
Ï ÏÏ Ï
### 11 Ï Ï Ï Ï Ï Ï Ï
5
Ï
4 3
4 4 1 3 1
& 8
1 4 1 4
1 1 1
Ï
0 2 4 0
Ï Ï Ï
Ï Ï Ï Ï
0
1 0
. j 5/5 CII 5/5 CIII CIII
### Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 12 Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï
7
Ï Ï
4
nÏ 
& 8
1 4 3
nÏ 
0 1 1 4 1 1 4 1 4 4
2 2 1 1
Ï Ï Ï
3 2 3
Ï Ï Ï 1 1
1
1
3/3 CII
### Ï Ï Ï
9
Ï Ï Ï Ï Ï Ï ä Ï Ï nÏ Ï Ï
Ï Ï Ï Ï
 Ï
& Ï Ï Ï ú Ï Ï nÏ
0 1 0 0
2 4 1
0 1 0 0 3
1 1
ú ú
2 2
-
0 0
-
2
3
3/3 CII 5/5 CIII 4/3 CII

11
### Ï Ï Ï Ï Ï ä Ï nÏ ä ä Ï ä

Ï Ï Ï Ï
n ÏJ ä ä Ï  #Ï
Ï nÏ Ï Ï
1
& Ï Ï Ï ú Ï nÏ
4
0 1 4
J. ä ä -
2 1 1
0 1 3 2
1 1
ú
2
-
2
.
0 0 1 3
1
sfz
sfz
27
ä Ï
3/3 CII
### Ï Ï
13
Ï Ï Ï Ï nÏ Ï Ï
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï nÏ  Ï
1
ú Ï
0 2 0 0 4
0 0 1 0
1 1 1 3
ú ú
2 2
-
0 0
-
2
3
3/3 CII 5/5 CIII 4/3 CII

15
### Ï Ï Ï Ï Ï ä Ï nÏ ä ä Ï ä

Ï Ï Ï Ï Ï
n ÏJ ä ä Ï 
Ï nÏ Ï
1
& Ï Ï Ï ú Ï nÏ
4
#Ï
1 4
0
.J ä ä -
2 1 1 1
0 1 3 2
1
ú
2
-
2
.
0 1 3
1
sfz
sfz
. j
Ï  Ï ÏnÏ Ï#Ï Ï
5/5 CII
Ï Ï Ï
### Ï Ï Ï Ï Ï Ï Ï
17
Ï Ï Ï 11
4
Ï Ï Ï
2 3
ä Î
3
& 8
4 1 4 1 4
0 0 1 4
2
w Ï Ï
0 2 2 0
Ï Ï
1
1
. .
Ïj Ï Ï Ï Ï Ï Ï Ï Ïj Ï
5/5 CII
### Ï Ï
Ï Ï Ï Ï Ï Ï Ï 12
19
Ï
4
4 1 3 1 3 4
8
4
&
1 1 4
1 1 1
Ï
0 0 2 4
Ï Ï Ï
Ï Ï Ï Ï
0 1
0
. j 5/5 CIII
5/5 CII CIII
### 12 Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï
21 Ï Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï 11 Ï 4

& 8 8
3 1 4
nÏ 
1 4 1 4 4 3 0 1 1 4 1
n Ï
2 1 1 2
Ï Ï Ï
2 3
Ï 1
Ï Ï 1
1
1
. .
Ïj Ï Ï Ï Ï Ï Ï Ï Ï j 5/5 CII
### Ï Ï Ï Ï Ï Ï Ï Ï
Ï Ï Ï 12
23 3
4
3
4 1 4
8
4
&
1 1 4
1 1 1
Ï
0 0 2 4
Ï Ï Ï
Ï Ï Ï Ï
0
0 1

28 5/5 CIII CIII 3/3 CII
### 12 Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï Ï
25
nÏ 
& 8
3
nÏ 
1 1 1
ú Ï
4 4 2 4 1 1 0 2
Ï
3 2 3 0
1 1
Ï ú
2 0 0
1 1
1
3/3 CII
27
### Ï Ï ä Ï Ï Ï Ï Ï Ï Ï Ï
Ï n Ï Ï Ï Ï Ï
nÏ  Ï
& Ï Ï Ï Ï Ï Ï ú Ï
0 0 1
4 0 2
0 1 0 0
1 3 1 1
ú ú
2 2
-
0 0
-
2
3
5/5 CIII 4/3 CII 3/3 CII
### ä Ï nÏ ä ä Ï Ï ä Ï Ï
29
Ï Ï
nÏ  Ï
Ï Ï Ï
n JÏ ä ä Ï  #Ï
Ï Ï Ï
1
& nÏ Ï Ï
4
Ï
1
ú Ï
4 0
J. ä ä -
1 1 2
3 2 2 1 0 1
1
- ú
2
.
1 3 0 0
1
sfz
sfz
3/3 CII
31
### Ï Ï ä Ï Ï Ï Ï Ï
Ï Ï n Ï Ï Ï Ï Ï Ï Ï
nÏ  Ï
& Ï Ï Ï Ï Ï Ï ú Ï
0 0 0 1
4 1 2
0 0 3 0 1
1 1
ú ú
2 2
-
0 0
-
2
3
5/5 CIII 4/3 CII  Ï Ïj Ï Ï

### ä Ï nÏ ä Ï Ï ä Ï Ï ä Ï
33
Ï
& nÏ ä ä nÏ 
4 2
Ï Ï Ï
 ä Î
1
Ï
4 3
#Ï
1
Ï Ï
4 2
n Ï ä ä
1 1
.J
1
w
2 2 0
-
2 1
J.
1 3
-
s. 1
glis
3
1
sfz
sfz
     
Ï Ï Ï Ï Ï ä Ï Ï ä Ï Ï ä Ï Ï Ï Ï Ï ä Ï Ï ä Ï Ï
### ä
35
nâ  nâ 
1 2 1 1 2
4 4 1 1 4 4 4 1 1
2 4
&
2 1
O â O â 4 4
3 4
4 3
Harms.

      
Ï Ï ä Ï Ï ä Ï Ï Ï Ï Ï Ï 29
### ä Ï Ï Ï Ï Ï ä ä Ï Ï
37
118
2
& O
1 1 1 1 1 3 1

4 3 4 4 4 3 4 2
1
1 â â 4
4 1
. 5/5 CII
.
Ï Ï Ï Ï
### 11 Ï Ï # Ï n Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï # Ï n Ï Ï Ï Ï Ï Ï
39 3 2 3 2 3 4 3
4 1 4 1 1 1
& 8
4 4
1 1
Ï Ï
0 2 4 0
Ï Ï
Ï Ï Ï Ï 1 0
0
. 5/5 CII 5/5 CIII CIII
### Ï Ï # Ï n Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 12 Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï Ï 11
41 3 2
Ï
4 1
nÏ 
& 8 8
4 3
nÏ 
0 1 1 4 1 1 4 1 4 4 3
2 2 1 1
Ï Ï Ï
2 3
Ï Ï Ï 1 1
1
1
. .
Ï Ï #Ï nÏ Ï Ï Ï Ï Ï Ï Ï Ï
5/5 CII
### 11
43 Ï Ï #Ï nÏ Ï Ï Ï Ï Ï Ï
Ï Ï Ï Ï
3 4 3
4 3 2 1 4 3 2 1 1 4
& 8
4
1 1 1
Ï Ï
0 2 4 0
Ï Ï
Ï Ï Ï Ï
0
1 0
. 5/5 CII 5/5 CIII CIII
### Ï Ï # Ï n Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 12 Ï Ï Ï Ï Ï Ï Ï Ï nÏ Ï Ï Ï 2
45 3 2
4 1
& 8 nÏ  4
4 3
nÏ 
0 1 1 4 1 1 4 1 4 4
2 2 1 1
Ï Ï Ï
3 2 3
Ï Ï Ï 1 1
1
1
ââ
Harms. XII
q. = q
### 2 Ï Ï nÏ Ï Ï #Ï nÏ Ï Ï
47
J
4
& 4 #Ï nÏ Ï Ï nÏ Ï ä
4 3 2
1 4
#Ï
3 2
Ï
1 4 3 2 1
Ï.
4 3 2 1
2
sfz

30
Etude #19 for Aren Kortoshian
Michael A. Hendrix
Moderato q =112 (b-1952)
#### 2 4 Ï 0 Ï 1 Ï 3 Ï 0 Ï Ï 4 Ï 0 Ï 1 Ï 3 Ï 0 Ï 1 Ï 4 Ï 0 Ï 1 Ï 3 Ï 0 Ï 1 Ï
1
& 4 0Ï 1 0Ï 0Ï 0Ï 0Ï 0Ï
ú ú ú
4Ï 4Ï
####4 Ï 0 Ï 1 Ï 2 Ï 0 Ï 4 Ï 3Ï Ï 3Ï Ï
4
Ï Ï Ï Ï
1 0Ï 1Ï 0Ï 0 Ï 1Ï Ï 1Ï 0 Ï
& 0 0 0
Ï
0 0 0
Ï 1 ú ú
####4 Ï 0 Ï 1 Ï 3 Ï 0 Ï 1Ï 4 Ï 0 Ï 1 Ï 2 Ï 0 Ï 4 Ï Ï Ï 4Ï Ï
7
& 0Ï 0Ï 0Ï 0Ï
4
0 Ï
1 0Ï
0
1Ï 0 Ï
Ï Ï 0ú
ú 1
####4 Ï 0 Ï n1Ï 4 Ï 0 Ï 1 Ï 4 Ï 0 Ï 1 Ï 4 Ï 0 Ï 1 Ï 4Ï 4Ï
10
Ï n1Ï 0 Ï 1Ï Ï
& 0Ï 0Ï 0Ï 0Ï 0Ï
0
0
0 ú 0ú 0ú
4 Ï n4Ï 4Ï
Ï 4Ï 4Ï
#
## # 0 Ï 1 Ï Ï 0 Ï 1 Ï Ï Ï Ï 2Ï
13
0 Ï n1Ï Ï 0Ï 1 0 Ï 1Ï Ï 0Ï
0Ï
4
& 0 0 0 0
ú 0 ú 0 ú
0
Ï Ï #4Ï Ï Ï
#### Ï 2Ï Ï Ï 1Ï Ï 3 Ï 0 Ï 1 Ï Ï Ï 1Ï Ï 3 Ï 0 Ï 1 Ï Ï
16
Ï Ï
4 1 4 4
& 0 0 0 0 0
Ï
0 0 0 0 0
0 Ï 1 ú ú
#### 4 Ï0 Ï 1Ï 3 Ï0 Ï1 Ï 4 Ï0 Ï1 Ï 2 Ï0 Ï4 Ï 4 Ï0 Ï1 Ï 3 Ï0 Ï Ï 4 Ï0 Ï 1Ï 3 Ï0 Ï1 Ï
19
& 0Ï 0Ï 0Ï 0Ï 0Ï 1 0Ï 0Ï 0Ï
0Ï
Ï
ú 1
ú ú
####4 Ï 0 Ï 1 Ï Ï 3 Ï 0 Ï 1 Ï Ï 4 Ï 0 Ï 1 Ï Ï 2 Ï 0 Ï 4 Ï Ï Å4 Ï 1 Ï 0 Ï 4 Ï 2 Ï Ï
23
& 0 2Ï
1Ï Î
Ï Ï
0 0 0 0
ú 0Ï 1 0 Ï 1 Ï
Etude #20 (Evening Prelude)
31
for Eliza Petrosyan

Allegro q =120 Michael A. Hendrix
(b-1952)
4Ï
Ï 4Ï 3Ï 4Ï 4 ú
3
2Ï 2Ï
3
1Ï 1Ï
3
#3 Ï
1
4
& 4 0 0 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï3 Ï Ï Ï Ï Ï
Ï
ú ú ú Ï  2
mf

Ï
#4 Ï Ï Ï Ï Ï Ï 1Ï 1Ï
5
Ï Ï Ï Ï Ï Ï 0úÏ Ï Ï Ï Ï Ï
2 4 4 3
1 4
& ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
Ï Ï
ú ú ú Ï 2 3
# 4 Ï Ï 0Ï Ï 4Ï 3 3Ï 4Ï
9
Ï Ï Ï Ï #Ï ÏÏ Ï Î Ï Ï Ï Ï ÏÏ
& Ï Ï2Ï Ï Ï Ï Ï Ï Ï2 Ï Ï 2
Ï
1
ú 3 2
Ï Ï #ú 1
Ï
1
To Coda ø
13
#4 Ï Ï Ï Ï Ï Ï Ï Ï 1Ï
Ï Ï Ï Ï Ï Ï 0ú
2 4 3
4 4
ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ
1 1
& 2Ï
ú ú ú Ï 1
Ï
4Ï
# 0 Ï1Ï 4Ï Ï Ï Ï 4 ú 4Ï
17
4Ï Ï Ï Ï Ï1
& ú Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 1Ï3 Ï2 Ï Ï Ï Ï Ï 0ú Ï Ï Ï Ï4 Ï Ï 0 ú1Ï Ï Ï Ï Ï
3  2
Ï Ï 0 ú Ï 2Ï 3 Î
3 3
D.C. al Coda Harms.XII
ø Coda
4O
.
gliss
2Ï
# 4ú
22
Ï Ï Ï # Ï Ï Ï 44 OO Î
Ï Ï
# Ï Ï
2
#3Ï Ï Ï
1
& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï2Ï Ï Î
0 4 2
0
& Ï Ï Ï
Ï Ï #ú 2 ú
2 3 1
1
ú ú
rit.
rit.
32
Etude #21 (Funny Girl)
Michael A. Hendrix
Adagio q. =60 for Sidney Ro
(b. - 1952)
2/2CV CIII
Ï 3Ï 1Ï
# 3 3 Ï 0 Ï n2Ï Ï Ï Ï Ï Ï Ï Ï 4Ï
1
# 2Ï Ï 2Ï 4
4 4
& 8Å 0Ï 1 0Ï
4
0 Ï
Ï Ï Ï
Ï Ï Ï Ï
0
R
mf
CII
#4 Ï Ï 2 Ï Ï 0Ï Ï ä
gliss
6
4Ï
 Ï Ï 0 Ï Ï 2Ï 0 Ï 1 0 Ï
2 0Ï Ï 3Ï Å Ï Ï Ï Ï
3 
& ä Ï3 Ï 0Ï
3
1Ï 3 0
4 2
Ï
1
Ï Ï 1
ä
gliss
#
11
4Ï
Ï
& Å 2Ï 0Ï 1 0 Ï 1 Ï Ï Ï 2Ï
3Ï 0Ï 0Ï Ï Ï Ï Ï Ï Ï Ï Ï
0 Ï
Ï
nÏ  Ï
4 2
ä Ï 3
1
1
j Å Ï
3 2/2CV
Ï Ï n2Ï Ï Ï 3Ï 1 Ï
#Ï
15
Ï Ï 2 Ï4 2 Ï1 Ï Ï Ï Ï #Ï Ï 4
0Ï 1
3
& Ï
2
0 Ï
Ï Ï Ï
0 0
Ï
Ï ÏJ Î
2 0
Ï
0

CIII CII CI
# Ï n4Ï Ï
2Ï 4Ï
Ï 4Ï 4 Ï
Ï 2Ï Ï nÏ 2 Ï 4 Ï Ï Ï Ï
20
0Ï
2Ï
4 4 4
Ï Ï bÏ
&
2
0 Ï
Ï Ï Ï
CIV CIII
# n4Ï bÏ 2 Ï 4 Ï Ï 4 Ï n4Ï Ï Ï
25
Ï 1 Ï 1Ï Ï
 
& 0Ï Ï Ï
bÏ
Ï
0
Ï 2Ï
Ï
Ï
2 0
Ï
0 0
3 2

# #4Ïr Ï 0 Ï
30
Ï 1 Ï Å 0 Ï 1 Ï 0 Ï 1 Ï 4Ï 4 Ï 2 Ï 1 Ï 0 Ï 4 Ï
33
Ï 1Ï
gliss
& 0Ï Ï
Ï Ï
Ï
0
Ï
4
#Ï Ï Ï
0
2 0
R 2 3
r Ï
# 0 Ï
35
Ï Ï Ï #4Ï Ï Ï Ï Ï
0Ï
3  Ï
& Ï Ï 0Ï Ï
0 Ï
2Ï
0 4 0
1 1 1
0 0
Ï
Ï #Ï Ï 0
2
2
R
#
40
Ï Ï Ï Ï 0 Ï 2 Ï
& 2 Ï 0 Ï 1 Ï Å Ï 0 Ï 1Ï 0 Ï 1 Ï 4 4 2 1 Ï 0 Ï 4 2Ï
gliss
 0Ï Ï
Ï b Ï Ï
Ï
Ï 3 0
0
3 1
# Ï Ï
45
Ï Ï Ï Ï Ï Ï
bÏ
& 0 Ï Ï Ï
4
ÏÏ Ï
0
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34
Etude #22 (Lone Pine)
for my Brother,
Bob Vanderpool Michael A. Hendrix
. . .
(b-1952)
Allegro q =120
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36
Other Arrangements and Transcriptions

Classical
Minuet in Gmaj. - Bach
Minuet in Gmin. - Bach
Sarabande in Bmin - Bach
America Francis Smith/Henry Carey
Star Spangled Banner Francis Scott Key
Fanfare For The Common Man Aaron Copeland
Sonata L83 D. Scarlatti
Prelude in Emin - Chopin
Drewrie s Accordes - Solo - Anon
Promenade Pictures from an Exhibition Mussorgsky
Minuet K300i - Mozart
Corrente - Praetorius
Gymnopedie #1 Solo and Duo Satie
Come With Me My Giselle Theme with Variations De La Halle
Non-Classical
Nursery Rhymes and Songs We Love to Sing (73 pages)
Easy Beatles Vol. 1 The Beatles
Every Breath You Take - Police
Stairway To Heaven Led Zeppelin
Satisfaction - Rolling Stones
Take Five Paul Desmond
Cast Your Faith To The Wind Vince Guaraldi
Candle On The Water Kasha/Hirschhorn
Fire and Rain James Taylor
My Favorite Things Rogers and Hammerstein
A Time For Us Nino Rota
The Godfather Nino Rota
Send In the Clowns Stephen Sondheim
Thumble Boogie Jack Fina/Rimsky Korsakov
Please feel free to e-mail me with any questions you might have regarding additional
arrangements and transcriptions. I can be reached at: michael.hendrix3@verizon.net

37
About the Author

Michael Hendrix is a self admitted Musiholic. Following a rather traditional initiation to
music with piano lessons at five years of age, Michael found his true Holy Grail at age
twelve in the six strings of the guitar. The calling to pursue a career in the field of music
came that same year. The quest continues!
A devoted student of his craft, Michael succumbed to self-imposed exile to the halls of
academia throughout the decade of the 1970 s. Studies in the field of composition led to
faculty honors as well as recognition by a variety of private arts organizations. A new
compulsion was born. Greatly influenced by his studies with such luminaries as
composers Truman Fisher and Dick Grove, Jazz guitar great Dave Koonse, and classical
guitar masters Richard Pattie and Michael Kozubek it was now time to bring the dream to
fruition.
A pedagogue in his own right, Michael s guitar concepts draw heavily from the principals
of the Romero family, Christopher Parkening and a dash of guitar legend Lenny Breau.
His student s have consistently been accepted to perform in master classes with such
leading artists as Scott Tennant and Christopher Parkening and he has also produced
several winners of noteworthy musical competitions.
Michael is currently active as Director of Classical Guitar Studies and Community

Liaison at the International School of Music in Glendale, California.


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Michael Hendrix

For a single performer

Brought to you by www.musicaneo.com ▪ Search for: SM­000240563

Twenty Two Original Etudes

Copyright © Michael A. Hendrix Music (ASCAP)

Twenty Two Original Etudes

To all of my students, I hope you have enjoyed our musical adventure

All rights reserved

Copyright © Michael A. Hendrix Music (ASCAP)

A couple of basic concepts;

I hope you will enjoy the tunes.

Copyright © Michael A. Hendrix Music (ASCAP)

Copyright © Michael A. Hendrix Music (ASCAP)

Copyright © Michael A. Hendrix Music (ASCAP)

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& Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï ÏÏÏÏ Ï Ï ÏÏÏ Ï

Copyright © Michael A. Hendrix Music (ASCAP)

Copyright © Michael A. Hendrix Music (ASCAP)

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Copyright © Michael A. Hendrix Music (ASCAP)

Copyright © Michael A. Hendrix Music (ASCAP)

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Copyright © Michael A. Hendrix Music (ASCAP)

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Copyright © Michael A. Hendrix Music (ASCAP)

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ÏÏj ä 1 ÏÏ ÏÏ ÏÏ ÏÏ ÏÏ 2 Ï #Ï1 2 Ï 4Ï 4 Ï 1 Ï3 Ï 4 Ï

Copyright © Michael A. Hendrix Music (ASCAP)

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Copyright © Michael A. Hendrix Music (ASCAP)

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Copyright © Michael A. Hendrix Music (ASCAP)

Copyright © Michael A. Hendrix Music (ASCAP)

Copyright © Michael A. Hendrix Music (ASCAP)

Copyright © Michael A. Hendrix Music (ASCAP)

. j 5/5 CII 5/5 CIII CIII

. j 5/5 CII 5/5 CIII CIII

3/3 CII 5/5 CIII 4/3 CII

3/3 CII 5/5 CIII 4/3 CII

Copyright © Michael A. Hendrix Music (ASCAP)

5/5 CIII 4/3 CII 3/3 CII

5/5 CIII 4/3 CII  Ï Ïj Ï Ï

Copyright © Michael A. Hendrix Music (ASCAP)

. 5/5 CII 5/5 CIII CIII

. 5/5 CII 5/5 CIII CIII

Copyright © Michael A. Hendrix Music (ASCAP)

for Eliza Petrosyan

Copyright © Michael A. Hendrix Music (ASCAP)

Copyright © Michael A. Hendrix Music (ASCAP)

Other Arrangements and Transcriptions

Copyright © Michael A. Hendrix Music (ASCAP)

About the Author

Michael is currently active as Director of Classical Guitar Studies and Community

Brought to you by www.musicaneo.com ▪ Search for: SM000240563