Some Ideas on Practicing

Villa-Lubos' Etude No. 1 In E Minor

by David D. Hopman

[David
gUILaT
of

HopMan began
Btlblto,

HI

!lYe

...nell

fOrlllgn

hiS

scrvlct:

tIOned thl:re.

tnt:

:;ludy of

Spain at the

piece to work on (eyen

oyer

an

(a

U.S.

and,

OIlCII

was

sta

tractlye choice as a piec

fslht:r

officer)

a rewarding

lI'le

He tllilfned hiS Bach

elor of MU51C degree In gUitar per

cert

extended

period

mastred,

of

offers

repertOIre,

or

all

con

encore

lar Illt

to

Win

the

cthoyt:n

Voung Artist Audition.

for

lhrtlt:

yeafs

musu::ologlsl

under

lhe

(frllll

Dr.

ers

have

also
clfld

Marluw,
Hapmsfl

lhrouyhoul

His

r e n ll)'
MUSIC

In

John

In

Mr.

of

the

Harrl

The

would

this

plt:ce.

I"

Guthrie

h i S Master

perforll'l,lnce

at

Soulhm

of

WIth

Metho

most

perIenced the

<IS

haye

umt

<Ill

and

and

notes

IS

Certain
work

groups

of

spread

crA meetH19

tht:

In

flrlgt:rs

[June,

1980],

the

prt:'ssed

by

forrest

for

Jim

articles

HI

need

lOUIS

101<15

and

ex

others

Soundboard

th<ll

lesser

USing

so doing,

One

to

to

go

of

the

or the

rhythmlCillly.

to

to
the

pallerfls
the

group

The

way

rhythms.

against

,"ulgers

to

caustl

phy

various

some

wllnt

thereby

UneVel!flt:SS.

are gOing

Sl.

fJ J j

the
This

to a

of the natural l!lcilnatIon

At

It.

together

evenly.

a'ld

grain

Patlerns ),

of some

rhythmiC

pat

olume,

tont:-color

and

urtl

4, and 6 carl bt: ust:d

WitI'! any ttlplt:t subdiviSion If one

should
the

be

dOfle

"Cayotte-en

rondeClu"

1hi.rd Wte SUite

It

the

of

prllct Ice
with

to

best

IS
tht:

right

ope" strl"9s.

Etu:Je
hand

Ihe Import
slowly ella

thlnq IS to prClcllce
to

trolled

flllqer In terms of the

tions,

most

ferred

to

technical

conSidera

of which can be trans

olher

pieces,

In

prac

much

more

t:aslly

III

these

respects as well.
'he patterns

ally quad

;,Jlod

ruple subdlvlson--In this CBse 16th

metronome

pieces

notes--are:

slowly

Etuie

Lobos'

e)(cellellt
of

the

(lhereby

OIle

right

different

fllC<l1

the

repertoire,

III.
for

The
the

hHI](j.

Etlrle

IS an

deye!opmef,t
It

combInatIOns
condellslfIg

Villa

of

util izes
fingers

variOus

tech

problem::.; Into one etude),

IS

Figure

I.

on
88

tone-color

strongly

tICHM:j one of t most oflell played

In

and

qradually.
be

oyer e

absolute COlltrol

have

lRe,

I use for

ViJr

"11th the Individual.

duple groups allows them to be con

to

using

will

The temp{)

In this diSCUSSion I 101111 be

referring

by

working

alone,

f"lyers fast mto slflgle, and then

els.

;ilct1.l81

the

begin

c u l a t lon,

the

hlW4l

ttlplel rlgurlltion.

playing ley

I s o l a ting

whc:re

left

arpegg latt'd

an

wlthlll

would be applicable and enlighten

because

of Bach's

99)

(BW\I

there art: many right IVld

problems

such as

pll:ces

for

Ing to

readers of all

Thlli

of the 8th notes 15 [xnltted.

together

terns are also good for developlflq

eyen

J 11

ex

that "limps"
work

there

toqtlther,

rhythmiC

By

Ibpran

or

or grt:ali;,r e)(tent In all lIrpelJglOs.

arppeggio

by D:lvid D.

example
tremolo

heard

combat thIS problem IS

dIst UlllYerslly.]

n 11 J Jj J

fingers

don't

around

problem

In

is

mdepen-

oI)VIOUS

tremolo

11'1,

It

the

moye

be

W e haYe

because a,

Si;IIJ\ll

completing

arpeggIo

hand

right

of

lht: I'II ld-outhern TegIon

Cul'

any

dently.

16th

Hi;l IS

playu'19

very Important to

reCital

degre

Robert

Sophocles

Ghlgl18.

ap peQrl:<d

Un: Ur'llted StatllS.

of

It:ach

Barbosa-Llilia,

Oscar

hHI!>

noted

Fruchtman

1I1c1uded

Car los

Club

He studIed

whllt: ulltlnding M.S.U.

PIlPHS,

Right

The

til" 1'11111\101 concerto COIII

peLllioofl as well <IS till.: first Ijtll

4.

3.

piece,

sily where ht: WIIS lht: flfst yUllaT'IOU.

n.n.

at

an

of

formance from Mtc'I!IphiS Stale UUIVCT

1St to

1..

time),

\ellgth , vol

of

each

n:commend

the

use

to

one

to

to

force

increase

lhe

the

nolt.
of'
pIS

etlP'!

r
speed should neve

Increased more than one /flark

the metronome belween cycles of t

rhythmic pattems, and then only I
the

slower

COllt rol .
but not

Jo,-,"O bo..r</

speed

ete
is under cOlipl

1;:""

The tone should be 5

forced.

A good solid

,M,/ IQ6'1

!he

Ideal.

1 and 2 giv& people the

Patlerns

st trouble.

Ihey must be played

16th-dolled

I r you have

Tlplels.
your

ut

_ eyn

the
In

r;nnesS

still

1:1

811y

of

more

!he

evenness

of

rdllg lhe1ll,

by

thereby assurwq

It

at IC<lsl tWIce
ptrfecLly
,01,1 lire rcady to go all to the next

,ukmg

the

IS to

play

the ent Ire

the

samtc'

met r o n O lll e

III

that

you

rhythmiC

punl
peqqlO

you
by

sl'>ould
USlIo(j

tt'l\t patttlfllS <IS

,r assutlng

have

Just

patterlls.
practice
thtl

plH)'ed

At
the

ar

rollow\09

IIC

further

1:1

absulute

thl!>

dymulll C

lJIeans
COII-

1101 oy.,r each fUKler.

Figure

PIP IprtI I amR ImpIpi

uboy

of

the

olone,

Figure 3

to

the

fol

be

ClIn

'ip'

only

one

weeks,

plactlce

IS

prOCl.-dure

lhe

Ihls could laleCl

several
the

and

litll:itHon.

same,

'"

lilly

cas(: .
OnCe

IIIIfHml,6ll

the

I:Ichleved,

worle with the

pt)1I.l
With

you

arts

speed

has

ready

to

been
begul

At

l.,ft hand.

thrOIJ(Jh

chords

seven

I:Iltow you to

thiS

In

mt:!lsures

one

mcluSlvto which

wlll

rt:l;ip

the

btslleflts

to

pract Ice

stcHdy

thc

millor

the
fllt:Ct:

prRctlCE:

or

et'1llrt:

stll n

the

day

without
doing

the

with thE: patterns.

In

the

h<lnd

people I t
try

enough

times

In

'tIDe

Hrld

would

III

played

cOlIslsLtsntly.

slowly,
spt::cd
more

:: 160.

PIPlptnU.lflalmp Ipl

It

Ally

one

Orot:

the

mlietronomt:

narle

month,

of

AIlt:t
per

could

Ils

hastc

Increase

performwlce

If

rio '01 1I1f:!

to malet:

Ileyt:r

ptaywgl:i.

and

loses

and

RE:lllember

th1

point,
p ts l

spt:t:d,

slOWtsr

and

of

tWt:E:II

or

Interl;!st

character.

.J

bt:

blur

much

hlirmonlC

not
lhe

shirt!!
to

lilt!

the

It

plliece

marie
a

thts
be-

rtain

very

good

prOCJrt-ss.

1he

lett Hard

16th
ap

antlclpale

by

uSing

the

to

r e c o g lille

areas of technical strength 8S well

as

wealeflt:ss,

811d

concentr &t e

on I y

on tne latter In order not to wasl&

pracllce tlmt:.

St'llftlng IS a prlnle:

Host shifts ln any given

example.
p l t: c e

'01111

well.

In

usually
a

piect:

worle
such

pretty

as

thlc.

however, where rapid shirtIng IS I,)f

the

essence,

mlKlu

to

posslbh,.

welle
! ,
be

Important

HI

the

rOPldJy

..r.E.'re

must

chord

chard

II:I!lt

and,

arm

UPComing

AS

mar,y

hav&

occur

cltp

fingers,

pilCoblE.',

ror

lo

the

rapidly

well

b e l w e t: n

order

follOWing procedures.

play

fastt:r and the Internal rhythms get

91pIP'lIHfII!llmp Ipl

80d

btstwetsl1

as

enough SImply to

rast

order t<) bUild the stamina rtsquHed

lost

or

not

In

chlillyes
note,

four

IS

move

changE.'s.

An cvcr'tual goal for performallctl of

to

each

IS

chHllgtss

bt:tween rE.'peated chords.

pillY

by

should appear

chord

to
the

rhythrlo

the

to

piece

least

right

lhe
all

play"'g

the
piece

at

m ts a s u r e

of

chord)

le

lilt: f ln lll stagt:

tn...

dt..

of

cunlln....d
.,
pract Ice WIth the rhylnms
(.d

} J j J:11

fJ J j

I r'COIMII:rJd U!>lng the rhytnms

the

the

rUJht

uSIfl9

arpt::g glo

::60.

p ts o p l e

on

vol,

should

th(:

syncopated rhythm

rourth striog:

accellted

equal

procdurts,

I:Iround

some

elltlre

p Ip lpm I 9II!!lImp Ip I

All
of

10wll1g

pl<lYl.'d perfectly at a mlfllm spE:!(:d

sPtsnchng

order

and tN: unacceutt:d ones I:IS w11

others
a row

In

dlrrerent

be

should

lJ1tll

ill

wtnch

problems.

lowed

Artcr each pattern has bile" dont:

upegQ 10

hand

ur-

h more objectlYc view.

step,

Slu)htly

patterns
pat

pmlapmlamalmplpl

on

hand

the

rol

of

worle
notes

be

alternate r i g h t

Plplplplllmplplpl

rl!Jht

chtc'cr,wd

furthtc'r

be

can

CRn

the

patterns

aud

'he

any

the

hand

procedure

uSing

1.111-

up later on III the

show

terns

as

lry

noLt:,

lht: 8th

Remember,

check.

eClse

gIO.
'oeQ

16Lh

any doubts

occurscy,

on

beal

Lhe

tLHl9

It

rhylhmlc

as

not

and

8lh,

same

lowed

or

the

every

shirt
A

shlfl

must

be

tc'fflciently

detailed

as

eX8IfIlnotll,)I1

between l'IIeasurt<s

and

two

the

procedures

"'ore

efrort

as

'01111

serve

difficult

to

to

be

ones,

one

IllustratE.'

ust:d
and

In
111

the
most

dlrrlcult shifts In general.

In
sents
lhwl

sotnI! wliys the

more

problem!>

the rl!Jht harld.

left
In

hand pre
lhe

8t::txJe

!he tnck Iii

Ooe

of

gUide

to chllntJe cl'>ords fast enougn IIOt to

saId

lose tnt:

gUide

II:I!>l

IIIOU!] chord.

16th "ate of the pre

A

good way to

checle

ror thiS IS to listen for the fol-

89

of the thHlgS to

a problnlll shl n

fingers.

lately

squeaks,

Much

agolnst

flngtsrs

has

thl;

because

9115S811d I ,

SOIIIetll'llt:s cause.

loole for

1'1

I S tht: poSSIble use

etc.

btsen

use
of

or
the

that they

I agree WIth thiS

I
howevr,

subrlll l,

that

would

II/IIlnatlng

101111

have

the

1/

Inch

to

order

to

arrlye

at

the

only

trallel

In

qUld fingers IS an element of VIr

new

tuosity that /IIay be desIrable, but

lht: third and fourth flngrs.

for many people 18 not poSSIble In

a

p1 8yb d

rapIdly,

1II0st illlportanl of
ly.

sho ul d be lImi

WIth

Play

Ilist

/IItl8Sure

or

one.

It

IS

swoosh
miss

or

shl fts

....

at

It IS up to

thltll

between,

but

piece

indiVidual

As

probitllll

IftDst

for

of

us

require

any

and all tricks we can brIng to bear

to pull off conSlstntly.

Me81lwhtle, back. at the

awe,

fi n gl: r

on B

on [,
In

alld

the first

In measure two

IS

It

necessary to

practice tnt. shift in slow 1II0tlon,

and in yeral ataqt:s.

Step

le ast
thl:

bl:

lifter

tht: shift

pOSit lOll It
tIme

lS

taktm

at

before

!ih I ft

dur 1111]

GUitar Playirq

see

N.J.:

1980).

It IS

very Import.. nt
to

hIIvt:!

tht:!

" difficult lihlft

Ul

_cntum

of

tion to another.

pUllli tlOIl

sluw

down IJraduaily atld IIccurately.

Iry

step

the

an d tnt!

combl-

With

It

to

tht:

elbow

IS.

ha\t:!

alld

The

should

oppos

SteP

PlliCe fingers onl: and two approx

ImRtely

the

1/2

lIlch IIbove t neck In

corresponding

ty will be

measure

two.

p l a c Ing

the

Ul

10

If

poSitions

thllt

the new ch ord in

you

fillgers

practIce
ftr8l,

by

they

01

always

Imuqu)o"

pitc her lhrowIII(} a ball.

It-.:. clbuw

leads and the (orellllll alld htd fol

fully.

gUitar

imporl""t

muscles

l o w through 511100thl Y

the hold of t thumb on the neck.

lht:

lIIQIIIe"tl.n

tnt:- Shill.

olltLclpatlttq

It

It.

d1St ance

the

arm

to

stllll

01

W'ty rhstBfo('.,

fihilt of

lonqer

IS

IotlC,jer

Icel

IIOrt: helpful It

III
At

tl'lt:

proj)t:!:r

the

be

should

shill

to

thH'IIJ

thumb

Irctbu&rd,

squeeLe ollce <19111111 With the th\.l11b,

to

wtll

tht:

Oil

lht:rt:by CIlUSlIlIJ

the

fluch

occurs

mort:

Rnd

forcl:

difficult

sturt

betweell IUllIsures SiX IIIId

seve"

whre

would

btl

bewg

thllt

Simtiur

us!:d,
In

placed e ltht;r

the

Step

proct:durt:s

dille rt:!ftcll'
tht:

bar

IS

on tnt: strings or In

tht: air about 1/2 Inch above them.

The

squeezlllg

still

tht:

be
arlll

and

by the

tht:

)th

thett

on

about
6th

and

tillt

tnt:-

fo urth

be hoytlrlng

should
above

fifth

rHI(}er&
1/2

tltCh
50

at rIIl(}s

1II01lt:mellt

to

the

Iltlll

Icft

hand

problems

OCCYI

bli:tween "easures thr and four ancI

btltween measures

lour

lind

By the

patti the chord changes.

of

measure

In

pillct:

flv".

t IIttjt:rs must I:'"t 1(:1_

ollly the

Here

three
.... d

the 01

should bt:

se c on d

thl:

should be ilboul 1/2

finger

\!Ich above tilt:

10 mllke the chord

low rl.

changl:

I S then Just a m at te r of IIIOYlnq the

c ond flngcr 1/2 Inch IotIlle Ilft

'I'MJ } IW1d

off the [ minor chord.

lI11d 1I thell have three

16th

notes

to ass their p lactls o. the A

fl.

Simtiar-ly, at tnt: elld o f lIIe8S

Uft:

four

and

Wht:!11 the arm rcaches the dt:Sln"d

but

the third

16ths

Step 5

lIew

I:Ifflvt:d

the

fourth

finger

should

II ft o ff thl: rl lIbout three or rout

t h e IIrlll muscles pulling towllrd the

the

utln

the

Jerk tht: IIrm rrom (Jlle stat IC POSI

118tlon of grall\ly and tht: force of

of

Chllrles

Classical

(Pllnceton,

S..-y B lfc h ard MuIlIC,

IIIOYl:S

complete.

the

cl8lllp a bit hardtlr

body

arlll

the !lrlll IIIOlIe

D16.cllu's book, ?be Art: of

h t:l ps In

note

elb ow

lhe

the

same

ment

yet

Quarter

about
the

tht!

for a ..ore de

tailed d.H.crlptioll 01

thiS

ShOuld

full

stH ft.

elbow as a fulcro....

measure.

In order to traln the hand and afm

step

pn:ssun: will Clluse

the thHe!

to arnve etflCIl!ntly at the chord

Ihis

the

Start off wtlh t he

btl as follows.
flnger

or

work for you rather thitfl to try to

the

procedurl! for the first shift would

lourth

the

on

re I eaSt<

lhuftl

tt'w

that Will

prsure

sudden

Ute

desHt!d

the

thiS caStt,

has

Other

to !:ihlft forward rapidly, uSlfIg the

ttlllp
l o

there Will be lit least a few In any

glvell

the

'hI.1

rapid

shifts Will become furl her and further

Release
thumb.

at

c h ord wtil be as rapid as poSSible.

referflnq to

technically,

advance

to

fast

II

to dl!cld which oncs those IIr.

you

Step

s ltgh t

tit

\..

bar

th a t

possible
a

squeak

II

Rl:IIIl:lflber,

probi(;ll
only.

heAr

shift etardy

the

tempo.

t:-ven

1101

IS

to

bl!ller

arr Illed

has

Irt:t

ted to trble strings whenever pos

sibl e, but If thiS

bar

thtl

n o te

ollen tillSltlr

t o ploctl the flflgers down aftt:r

fret.

Step 3

and

stIcurely,

all, ConSlstt!llt

Guide flnqers

synchronI letI on

III

If It IS to

vl:ry dIfficult shift

be

ch ord

t5

to a bar chord It

of

usd III
musci:R

th\#lb

WI It

cU'.jl.rlctlon

With

the
to

brllke

the

lIIOIlentum o f the IIrll en II arrlyes

at tht: A mlOor chord.

90

In a shift

tnt:

rrom

hoyt:r

Just

end of the llltiasutt

the

abOIlt:!

C.

IhE

fuurth fU'lgur 10.11 then havtl only I

of

$hort dl s t H llCe to traliElI InsteAd

hl:!\ IIIq to leap all thl; way from It.

hllJh rl.
comblnf1t Lon

lht:

constantly
StH II S

of

lor

thl:

RJ1d

11I;"t

lIIo"'tl"lum

arOll

ttl.

the

fHI(}nJ

chord

p r oY l de

Will

S lbltl

of

anllClpateS

fl!acb

that

pas

whenever
a

wid

fluldlt)

that Will

techltlquu

to

th61

illation

ql t:lltl Y III crt:ase the spced or chOrd

Chllnqt:S,

!:Ind

Irt:lbulIl'd,
Slow

ai!iO

1t:!llevt: tilt<

cOO

le,,:)IO" of Jtllkl"fJ aro u nd

stlllli

qrabblllq

praettctl

will

t tltlSl;:

mH'" tory o f

"otlt

lor

lhe:

fOCllltate

t echnlQut:S b) 8t
,

\uw"O(I I Imlt to "',u:ych_out

the

RntlCLp!ltt: lhem accurd

lIogly whLle the IUKJers IIr1< btlll

c hords

alld

on the old chord.

The

lorK]

mttaSUrtlS

chord

twellll:

fr

succession

thro ugh tweltt1

three offers a good opp ortunity

practice

s u b t l e d ynalJllc Chilli!]

oVltr a long group of lIotes.

take

the

lIery

dissonant

mtlaSUr(l eighteen 115 thtl

of

th e

"phrase"

chords and selleft

you

If

chord

high po

have

se"

lellcls of dyn

contrast to use to n:llch tl'll.: I

Measure twelve would be

est polnt.

ppp

,Jayed

and the following chords

JP, p, mp, mf, and tOrte until you

fortissiJoo 10 Measure
resch the
There you would bt!gln

,Ighteen.

unt il
pjlIr' In measure
at

Ilyed
the

the

are

should

same

dynlll'l1cs

playing

'1'Ml

twenty-two.

chords

Individual
Jrd

you

The
play

bane
the

of

dyn8lluc

Ettrle 1/1

Villa-lobas

twenty-five.

J would like to thank

,''us ..,,11 lIIa ke control

cres:::erl:>

It

rest

levels

IS poSSible for Many of

of

of

us

to

reach

a b i l i t y by

Ing flngenng which has yet to fail

approach

lIIe

undertakes

III

per formancc.

to

each
as

to

of

t e c hnique,

but

it

requtre

and

at

least

careful

as

study.

and

particularly bolh

way

18

to

11ft

the

!he

rllJUUi ) .
avOid

rhythlnlC

the

more

paUtlrn

secure

squeaks

18

to

way

roll

P'

tn
to

flngllr

Immodlately

,1'1

""

before

of the fingers

area

,ttangs.
en

Wht:n tt'lt: ftngers Itrtl held

a chord such as

pt!TIOO 01
becOllitl
pari

groovt.:d.

of

Ind

lMS

lor a

tlllle tilt. fingers

the

way

Increases

Ihe

Iltlsh

I:Iround

the

the

lonq

tend

surfoce

to

wraplt
!ltr Inq

area

2,-/''L

01

thtl flesh that contacts thll string.

II'tIs. alone] With the: IIllprllll 01
wrap of the
tesulllt

In

string

on

the

flneler,

Iht:
q"(:l:Ik.
'
carl bu

nasty

11

thc

afort:llle nt l o nt::d p r o c e d u r e
used

011

lIIany

s\ldes

IQut::l:lk Irlq prob I t1II

.t thl:: I:rtlfJllIlI.nq of

Ftel.lrle 111).
Iold

aVOid

In

Irod

InOISt.

H:mau,

POSSible when slldul(j

CliSlanc-e

to

to sqllt::ak
not

Is

to
to

SlOwly
Ordr,r

IIIOve

and

alld
to

such a !>hurt

qUickly

beq1nrllnq

mOYlng
Jerk

prt;ycIII

IS

ulowly onough not

yet

not

It

the
the-

tnck

flngels
hand,

ltQuctlk

of the slide.

.mough

Ill(:

at

Iht: rUII !lhould be pillyt:d With the

tn

perrormnncc

clip allY note5.

start

wily

third

hand oilly worklt

II your hH"ds swtlltl

tllcrc.:by

the

t he ono

a!'l

the VI I la-tobos

Iht::

nUISY len

II

to

(ltuch

III
the

5959 E.

UIX

rhytmolt III ruurl: 1.

lIh10 be played by
fl t!:lt

16lh

Ilote

It should

utoppmy
of

(2'41. 2J41. t;tc.)

l:i

every

011

the!

qusrtllr

III order

to

get

bt;ller fed for t phraslI.g.

!he

"'My

gUitar

world

ptorform<:rH

who

contaln
Itre

enoUCJh to get where they

out

truly

ilchl('vt1d

11ke
of

to
Or.

10

prac

understufldlng
their

art: With
how

remarkable

91

loa

talellllld
they
tech-

may

wnle

address:

Northwest

IX 152Jl.

acknowledge
(frllll

thtl

fruchtllan

the formation of lI'Iy

habIts,

descrlbE:d t'lt:reln.

the

on

would

practice

tlach

!&/Tface

article
following

Hoplllan,

for hiS help

orr

In order to reduce the

at

aSlllstance

tho tiP toward the left Side of the

chord Ch8l1tjt.!

the

IIC

strings).

Ihl9 method could be acceptable If

the

thiS

to

Highway 11065, DollIS,

)OtJ call do It accurately and st,11

131n18111

that

separated by

the n o t - s o - g r e a t

from

ClJncerrrlng
DaVid

fU'lqers

between chord changes (or just fln

gers 2 and) ou the bliSS

thought

Anyone With questions or cQlnll\enLa

your flngers, there are at least

fltst

go

t u:e hlltllts.

iShOrl of pull 109 somelhmg sllPPtlry

three ways to get around them.

llrgo

mr..ch

ollca by thc qua1tty o f their

sect Ion.

should

Ren.Cflber

ar f81111'9 dyn8lllic level.

'on

the

WIthout saying that uslcal detaIls

da::reso:n::b

thiS

she

or

With

In this paper.

the great players are

,SOllie problem Ifl

he

hava

Inth a sense of a constantly rising

8

The

have IIOslly limited the discussion

elSler and stdl leave the listener

Squeaks aft:

S8IIIt:

as careful en

piece

Etude

Vllla-Lobos

Figure

the

practlclng

thoughtfully and consistently.

StudEl(lt flust develop

level

the long

mqt.e.
lhe

Carlos Barbosa-luna for the folloll

between

(hords.

and

is

the run In -easures twenty-four and

all be

terraced

who

guitarists

SOIIIti

9CNIIe

of which are