Documente Academic
Documente Profesional
Documente Cultură
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 tras que slo hay una pequea diferencia entre las frmulas para la mano derecha de los estudios #4 y #8, para el compositor en recuperacin esta diferencia representaba una dificultad enorme. Otro estudio aparentemente bsico#1fue tambin tan difcil para el compositor que lo tocaba decimocuarto, no primero, para poder ser capaz de ejecutar los veinte estudios de manera fluida. Garca de Len tpicamente los toca en el siguiente orden: 4, 3, 2, 5, 10, 13, 12, 6, 7, 11, 9, 14, 19, 1, 16, 8, 18, 17, 15, 20. En esencia, los ejercicios estn pensados para ser usados adaptando su secuencia a las necesidades de cada guitarrista. Los materiales a partir de los cuales estn desarrollados los veinte estudios son en primer lugar patrones idiomticos de la guitarra as como la variedad de estilos musicales tan atractivos y caractersticos de Ernesto Garca de Len. Por ejemplo, ejemplos clsicos de la msica de la cuenca costera del Caribe en general y en particular del estado de Veracruz donde naci el compositoraparecen puros en el #12 (una rumba veracruzana) y en el #20 (un son). Los otros estudios mezclan elementos de msica mexicana en generalcanciones de la revolucin, danzas nativas, boleros, canciones para nios y demscon elementos de msica clsica europea, Beatles, new age, jazz, y otros estilos musicales pensados para atraer tanto al guitarrista como a su audiencia. Como ilustra el sumario en las pginas 34 y 35, los primeros diecisis estudios exploran frmulas bsicas para la mano derecha. Al mismo tiempo estos estudios tratan tcnicas fundamentales de la mano izquierdaincluyendo balance, posicin, independencia de los dedos, movimientos longitudinales y transversales, traslados por sustitucin, por desplazamiento, por salto y por posicin, la ceja, distensiones y contracciones, apagamiento, colocacin sobre un eje, movimientos cruzados, y movimientos con dedos fijos. Los ltimos cuatro estudios se refieren al ligado. Aunque cada una de las frmulas bsicas para las manos derecha e izquierda tratadas en los veinte estudios es relativamente simple en si misma, cada una es una base importante para una tcnica slida. El do-minio de la serie completa de los veinte estudiosmenos de media hora de msicadesarrolla la tcnica de la guitarra a un nivel tal que permite ejecutar un amplio repertorio de msica para la guitarra. MICHAEL LORIMER, Nueva York 2002
Musical Exercises to Refresh Your Technique Ejercicios Musicales para Refrescar la Tcnica
Edited by Michael Lorimer
for Andrs Segovia
= 60)
2 4
4
2 1
cresc.
poco a poco
5
3
3
0 0
4
3
2 1
3
3
decresc.
poco a poco
9
2 4
8
4
2 3 4
4
13
1
8
1
3 4 1
3
CVI 3 2
4
3 4 1
3
decresc.
CIV
18
3 2
8
4
2 4 1 3
1 2
1 2 3
poco a poco
2 23
1 2
3
3 4
(055")
2
1
8
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
i 4 1
8
m i 2 3
1 4
2
2 2 4
3
3
3
4 2
8
1 2
4 3
2 3
4 1
CIII
CI
9
0 0
8
CIII
CII
15
20
rall.
vib. (040")
*Alternative formulas, m. 1-8 and 18-25 (Formulas alternativas, cs. 1-8 y 18-25)
a i a i p i a p a m p i i p m i p a a p i
A
8
B
8
C
8
D
8
E
8
F
8
G
8
6
Tranquilo ( =100)
m
0 0
8
4
3
5
1
8
4
4
10
15
4
8
20
4
8
2 1
4 3
2 1
26
31
36
rall.
Coda
4
molto rall.
3 2 1
(115")
m i
4 1 2 1 2
simile
m i 2 3
8
10
rall.
14
a tempo
18
rall.
(035")
8
Andante ( = 72)
ossia: m
a i m p i i
m
2
8
4 2
4 3 1
3 1
6
3
4 2 2 0 3
4
4
8
2 0 1
5
1 4
6
12
rall.
4 2 3 1 1 4 3
4 1 3
4 1
2
6
m a
i m
p i
i m
m a
m a 2 3
2
i m
p i
m a
i m
i 1
m a 4
2
i m
p i
m a
17 2
1
3
1
3
1 2
5
3
3
ossia: p
i m i p 3 1
8
4
m a 4
2
i m
m a
i m
3
p i
p i
22
m i a m
rall.
1 4 3
3
3
28
a tempo
rall.
3
(100")
4
8
m
3
a 1 0 0
m 3 2 1 4
4 3
5
2 1
8
3 0 2 1
3 2 1
2 1
11
2 1
8
4 2 1
4
4 2 1
4
3 0
i 3
2
16
4 2 1
4 2 1
4
rall.
0 0 1
4
3
5
a tempo
p p i 2 3
8
p 2 3 1
5 4 2
21
dolce
1
6
26
3 1
8
5 4
2
2
m 4 3 1
3
31
molto rall. 36
3 1
8
3
10
4 2
2
VII 3
3
4
3
XII
XII
VII
XII 3 1 0
XII
VII
VII
5
XIX
5 6
XIX 4 2 4 1 4 2 XIX
5
0 0 1 2
VII
5
IV
6
V
5
III
6
III
5
14
molto rall.
4 3 1 0 3 2 1
CIV 4 2 2 2 3
4 3
XIX
(040")
XIX
5
XIX
5
a 0 2
3
1 2
3
4
1
3
2 3 2
4 1
7
4 1
8
11
10
3 2
3
4 3 2
3
4 2 1
3
13
3 2
3
3 2
3
molto rall. 16
3 4
3 2
20
23
3 4
3
2 4
3
molto rall. 26
1 4 3
3
2 4 3
3
29
4 3
3
2 3 2
(140")
1
morendo
12
i 1 0 3
4
1 2 0
5
1 2
8
9
4
8
3 2 4 1 2
13
i 4 2 3 1 2 4
4
8
17
4
8
4
4
4
2
3
1 3
4
4
3
2 3 0 3
5 3
rall.
21
4
4 2
XII 4
4
2
3
2
3
3
3
4
2
4 3
1 3
a tempo
25
1 0
8
13
30
ossia: i 36
4 1
3
m a i
p m 2 0
rall.
1 3
3
1 3
1 2
4
4
41
a tempo
47
53
rall.
59
2 3
8
XII 1
a tempo
65
1
molto rall.
4
4 2 1 4
2
(125")
2
3
1 4
4
1 3 2 2
14
p i 2
p m 1
p i
p m 2
p m
p i 4
2
p m 2
p i 1
p m
p i
3
3 3
3
2
8
3
3 4
4
3 1
3 2
3 3
8
a tempo ossia: p
a
rall.
m i
3
p a
2
8
12
2 3
rall.
15
2
a tempo
p i m
3
3
4
2 0 0
ossia: p
a
p a
18
m i 4
5
1
2
0 3
15
20
1
3
0 3
3
5
22
1
3
2
5
24
1
3
4
5
0 0 3
3
3
a tempo
27
3
3
a tempo rall.
3
rall.
3 1 1 2 1 3 1 3 1
30
33
3 1
3
molto rall. 36
3 3
3
vib. (155")
16
Dolce ( = 92)
p 4 3 2
8
4 4
4
3 2 3
4
rall.
m i
p i
m a
6
1 3 4 2
3
11
1 3
4 1
2
6
1 3
2
15
1 3
4 1
2
4 1
2
rall.
6
4 1 2
suave
19
rall.
4 1
(100")
a 0
a m 4 1
3
3
4
3
17
5
0 0 0
8
3
3
1
3
8
3
3
cresc.
13
4 1
17
a 1 i 3
a i
1 2
1 3
a i 3
3
m 4 2 1
1 2
1 3
22
1 3
8
m i 1 2 4
3
m i
0 0
1 2
1 2
1 2
27
2 3
8
accel.
1 2 1 2 1 2 1 2 1 2 1 2
1 2
31
2
4 1 2 2 1
rall.
suave
(130")
18
Enrgico ( = 92)
Bring out (cantando la )
4 3
8
4 1
4 1
1 3
11
4 2
1 3
4 2
1 3
1 3
2 1
3 4
3 4 2
4 1
21
1
8
3 4 2
Dolce
ossia: p 26
2 4
8
m p a i
i p a i 2 4
a i
rall. ( = )
31
2 4
8
a tempo
4 3 2
2
3 2
3 2
3 2
3 2
4 3 2
19
35
4 3 2
3 2
4 3 2 3 2
1 2
2 3
2 3
41
ten.
1 2 3 4 3 4 1 2
46
dolce
1 2 4
3
1 2
4 0
50
1
8
60
3
8
4
4
3
4
4
2
3
molto rall. 64
4
8
a tempo
rall.
68
3
(145")
20
Allegro (
* p
CV 4
3
2
3
3
4
2
3
3 1
decresc.
1
3
1
3
2
4
= Damp the preceding bass with the l.h. = Corte el bajo precedente con la m.i.
9
3
3
1
3
4
3
3
3
1
3
13
3
3
2
4
1
3
4
3
3
3
1
3
17
4 3
8
21
4
2
A
8
B
8
C
8
D
8
E
8
F
8
G
8
H
8
I
8
J
8
etc.
21
26
4
2
4
2
cresc.
31
4 3
8
5
poco a poco
3
6
1
5
35
3
8
4 3
39
4
3
2 1 3 3
43
1
8
2 4
3
47
0
8
rall.
4
3
3
5
a tempo
51
0 1
3
2
4
1 2
5
2
6
55
1
3
2
4
2
5
2
6
22
59
3
3
1 0 2
3
4 3
4
63
3
3
1 2 0
3
4 2 3
4 3
4 1
3
XII 2
67
4 1
3
XII 1 2
XII 2 2
XII
a tempo
71
3
3
76
3
3
4 2
4 3
1
3
2
4
80
3
3
4
3
3
3
1 1
4
3
84
2 2
8
4
3
molto rall. 88
4 2
8
(135")
23
4 3 1
4 3 1 2
3 2 1
1 4 3
7
3
8
4 1 2 2
4 1 3 2
11
4 3 1 2
CV 2 3 1 1 3 4 2
3 4
molto rall. 15
1 4 3 1 3 2 4 4 2 3 1
poco rall.
19
4 1 3
6
4 1 2
6
4 1 3
6
morendo
*Alternative formulas (Formulas alternativas)
p p p p m i i m i i a m i i a m i i
A
8
B
8
C
8
p
10
i m
10
D
8
E
8
24
Rpido ( = 60)
p a m i
4
2
3
3
4
4
p
4
2
i a m i
0 2
simile
ossia:
8
3
4
2
5
4 2
8
3
1 2 2 3
7
3 2
8
1 3 2
rit.
9
1
8
2 1
3 1
a tempo
10
2 4
8
3 1
4
4
5
1
6
12
3 2
4 0
3 1
4
4 1
4 1
4 3
5
1
6
25
14
2 4 0
4 1
3 2
4 1
2 4
1
6
rit.
16
2 3
8
suave
2 1 3
a tempo
19
21
2
8
deciso 23
4
2
4
4
3 2 1
25
4
2
3
3
molto rall. 27
4
8
(100")
26
2
2
4
2
3
1
8
4
3
1
2
2
2
4
2
4
2
4 1
4
2
i
4 1 4
2
7
3
8
9
2
3
1 0
1 4 0
3
11
4
2
4 3
3
4
2
3 2 3
3
4 1
4
4
14
0 0
8
CII
4 3
3
4
2
4 3
3
27
16
3
3
18
4 1
2
4 3
3
4
2
20
1
2
2
3
1 2 4 1 2 4 2 1 2
3
3
23
2
8
cresc.
poco a poco
rall.
25
4 1
2
a tempo
2
3
XII
28
1
3
2 1 1
3
4 4
1
2
31
rall.
3 0 2
suave CIX
4 3 2
(140")
28
Tranquilo ( = 60)
a 4 m i m a
i p 2 4
1 0
8
ossia: m i
i a i m p p p m i a i a m i
m i a i a m p p
i m i a m i m i
m i a i i p p p 4
3 4
3
8
m 1
*
3
3
8
9
4
1 3
4
1 3
4 4
1 3
12
4
3
1
8
15
2
2
1
8
4
5
2
6
18
4 2 4
5
3 1 2
A
8
B
8
C
8
D
8
E
8
F
8
G
8
29
22
4
8
3 2
4 1
4 3
30
4 3 0
4 3
4 3
4 3
1 2
rit.
34
a tempo
37
40
43
4 3
4 3
4 3
46
rall.
2 2
(145")
4 3
8
1 2
30
4 3
i 2 1 4 3 2 1 CVII
m 2 1 2 1 2 1
CIV
3 2
8
4 3
3 2
4 3
4 3
2 1
1 3
8
i 1 3 4 1 3
m 2 4
3
2 1 2
10
4
2
4
4
3 3 1 2
4
2
13
4
8
4 1 2 2 3
2 1 3
16
1
8
4 3 2 3
1 2
4 3
20
1 2
2 1
4 3
1 2
4 3
2 1
4 3
24
1 2
8
4 3
4 3 2 1
4 3 2 1
27
3
2
4
3
3
4
2 1
3
4
1
3
3
2
4
2
2
3
4
4
31
30
4 2
4
1
3
2
2
3 1
5
2
4
1
3
2
2
33
36
4
8
a tempo, dolce 39
1 1
8
4 3
2 3
42
4 1
8
3 1
4 3
45
rall.
48
1 2 4 3
vib.
a tempo
dolce 52
2 3
8
4 2 1
4 3
4 3
molto rall. 55
XIX
(140")
32
= 92)
i m a 2 i 2 1
m 2 1
m i p 4
m i p 2 1
4
2 m
i 1 1
3
a 2
2
m 4
a 3 2
6
4 2
2
3
3
3
4
1
6
m 2
2
i 1 4 2 1 1 4 1
10
p 1 4
2
4
3
1 2
i 4
13
3
8
3 1
16
4 2
19
1
8
33
dolce 22
4 2
8
a 1 1
m 2 3
3
a 4 1
2
m 3
3
25
1
2
3
3
28
3
8
5
1
6
31
4 2
2
1 1
3
2
2
4
3
3
4
34
3
2
molto accell. 37
3
3
a tempo
3
4
3
5
3
6
41
4 3 2 1
cresc.
molto accell. 45
4 4 4 1 0
5
4 1 1 4 3 2
(105")
1
5
Mexico D.F.(5/98-12/98)
34
Summary (Sumario)
p m i CVI 1
3
= 60)
1
p. 04
8
3 4 2
4
( = 80)
m i
a i
a
0
2
p. 05
8
p i m i m i p m i p a m i p
CIII
4 1
8
m
2 3 1 4
2
0 2
etc
( = 100)
3
p. 06
8
(
4
8
a = 80) p
m i
m i p
m i
1 4
4
p. 07
8
0 0
m i ( = 72) a p
a p
m i a
m i m a
2
4 3 2
2 1
5
1 4
6
4 1 3
6
5
p. 08
8
4 2 1
2
6
4 3 1
1 4 3
( = 72)
i p
i p
a p p i 2 3 m a m i p
( = 56)
0
6
p. 08
8
7
p. 10
8
8
8
3 4
8
1 2 2
2 1
etc.
1 3 2
4 1 3 2
VII IV V
5 6 5
III
6
p. 10 a i p4 1
m 2 0
( = 92)
m p
a p
a i
m 1 3 0 3 0 1 3 1 2
0 0
9
p. 12
8
4
4
( = 80)
p i m 3
m i
m i
p a m i
( = 92)
10
p. 14
8
11
p. 16
8
35
a m i p
3
a
4
2
m i p i m a 6
1
1 3
( = 66)
m i p
a m p
a i p
m i p
m i 1 2
2
12
p. 16
8
1 2
( = 92)
a m i p
a m i
a i
a i
a m4 i 3
2
13
p. 18
8
3 2
3 2
3 3 2 2
4 3 2
( . = 116) p
i 0 0
( = 63)
2
4
14
p. 20
8
1
3
15
2
5
a m i
8
4 2 3 1
4 3 1
p. 23
4 3 1 2
2 3 1
a mi
( = 60)
( = 92)
4
2
CIV 3
8
16
p. 24
8
17
p. 26
p a mi m a
i m
3
a 4
p 4 1
2
( = 60)
i p 1
18
p. 28
8
( = 72)
2
(
1 4 3
= 92)
i 0
m 0
a 2
i 2 1 0 1 0
19
p. 30
8
20
p. 32
8
4 2 1
a p 2
m i p 0 0 0
a 4 2 0 1
4
a m i p 4 2
2
i p 1 1 0
3
m 0
m 3 1 p p 0
0 2
36
Ernesto Garca de Len (born in 1952 in Jltipan, Veracruz, Mexico) is a Mexican composer who specializes in guitar music, and whose works are becoming increasingly known internationally. He studied at the Music School of the National Independent University of Mexico (UNAM) and he is now professor of guitar and composition in the High School of Music of the National Arts Center (CNA). He lives in Mexico City where he composes and plays concerts exclusively of his own music. An extensive biography of Garca de Len appears in the first volume of this series (ML-121). A complete list of his works appears below.
Guitar Solos (Solos para Guitarra) Pequea Suite, Op.1 (Preludio, Danza, Cancin, Final) (1975-78); Balada, Op.2 (1978); Variaciones Sobre un Tema Veracruzano y Son, Op.4 (1977-79); Cinco Bosquejos, Op.5 (Preludio, Balada, Trpico, Zapateado, Postludio) (197980); Estudio, Op.6 (1980); Ni Lo Pienses, Op.11 (1981); Las Campanas Sonata N 1, Op.13 (Dilogos Criollos, Cancin, Son) (1979-82); El Viejo, Op.15 (1983); Suite Tropical, Op.17 (Preludio, Maran, Las Palmeras [Soliloquio], Bogando [Final]) (1982-84); Seis Invenciones, Op.18 (1981-85); De la NocheFantasa N 2, Op.20 (1985-86); Evocacin TropicalSonata N 2, Op.21 (Trpico, Evocacin, Final) (1983-86); Dos Piezas (Efmera [Cancin] and La apa [Danza]), Op.22 (1983-86); Preludio y Danza, Op.24 (1987); Preludio y Toccata, Op.25 (1987); Preludio, Op.26 (1988); Acere N 1, Op.27 (1988); Sonata N 3, Op.31 (Allegro Moderato, Lento, Como un Son) (1990); LejanasSonata N 4, Op.34 (Nostalgia Costea, Rumor de Lejanas Brisas, Son) (1991-92); 24 Preludios, Op.37 (1991-92); Nocturno, Op.40 (1992); 24 Preludios, Op.41 (1993-?); 4 Sonatas Elementales, Op.49 (TierraSonata N 5, Agua Sonata N 6, AireSonata N 7, FuegoSonata N 8) (1993-?); 20 Estudios, Op.50 (1998); Ofrenda para Marco Antonio Anguiano, Op.54 (2000); La Guitarra de Plata, Op.56 (2001); Nocturnal (Danza en la Soledad), Op.57 (2002); Son, Op.58 (2002); El Prufundo Misterio, Op.60 (2003); Tres Miniaturas (El Duende, El Enamo, La Hind), Op.62 (2005); Blsamo, Op.63 (2006). Guitar Duos (Duos de Guitarras) Preludio y Son N 1, Op.7 (1980); Preludio y Son N 2, Op.30 (1989); Preludio y Son N 3, Op.32 (1990); Suite, Op.35 (Preludio, Danza, Cancin, Final) (1991-92).