etudenios
DESCRIPTION
for solo guitarTRANSCRIPT
![Page 1: Etudenios](https://reader031.vdocuments.us/reader031/viewer/2022020422/568c0f441a28ab955a937b3a/html5/thumbnails/1.jpg)
RAFAEL HERNANDEZ
ÉTUDEÑIOSFOR GUITAR
![Page 2: Etudenios](https://reader031.vdocuments.us/reader031/viewer/2022020422/568c0f441a28ab955a937b3a/html5/thumbnails/2.jpg)
ATTRIBUTION-NONCOMMERCIAL-NO DERIVATIVE WORKS 3.0 UNITED STATES
ÉTUDEÑIOSFOR GUITAR
YOU ARE FREE:
UNDER THE FOLLOWING CONDITIONS:
ALL PERFORMANCES OF THIS WORK MUST BE REPORTED TO BROADCAST MUSIC INCORPORATED (BMI). THIS IS THE MAIN SOURCE OF REVENUE FOR RAFAEL HERNANDEZ FROM THIS WORK AND IS WHAT MAKES THIS FLEXIBLE LICENSE POSSIBLE. THIS LICENSE NOTICE MUST ALWAYS BE INCLUDED WITH ALL COPIES OF THIS WORK
TO SHARE - To copy distribute, display, and perform the work.
ATTRIBUTION - Any form of this work used in print, media, or performance must be attributed to Rafael Hernandez as composer of the work.
NO DERIVATIVE WORKS - You may not alter, transform or build upon this work without consent from Rafael Hernandez.
NONCOMMERCIAL - You may not use this work for commercial purposes without receiving a proper commercial license from Rafael Hernandez. This includes, but is not limited to, publishing and/or recording the work to any type of media, real or virtual, such as a printed score, compact disc recording, or for-profit file download.
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NOTES With what began as a single study for the right hand was born ÉTUDEÑIOS - a set of concert studies for guitar following in the tradition of Liszt, Debussy, Villa Lobos, and Ligeti. Inspiration for these pieces comes from my own experience as a guitarist and remembrances of when I was first learning classical guitar technique. In STRELLASE, I remembered learning other works from the solo guitar repertoire that were laden with right-hand arpeggios such as Augustín Barrio’s La Cathedral, Carlos Domeniconi’s Koyunbaba, and the second movement of Leo Brouwer’s El Decameron Negro, and wanted to add my own to the mix. UNBROKEN refers not only to the fast and fluid lines in the work but also the spirit necessary in tackling such a piece. Here, the guitarist is required to tackle scales and polymetrical rhythms with unbroken faith in their own playing. What serves now as the final movement in the set is FEATHER LIGHT. Here, I seek to tap into the tradition chorale writing for the guitar. As well, I incorporate a technique known as “cross-string tremolo” - a technique that I feel is underutilized in contemporary guitar music. This publication of ÉTUDEÑIOS is admittedly incomplete - the work is planned as a five movement set. However, I present these three, finished works in hopes that in addition to the challenges required with the unusual scordatura tuning, you will embrace the work’s current technical challenges and eagerly anticipate those movements yet to come. ÉTUDEÑIOS was written for and is dedicated to Bret Hoag.
RAFAEL HERNANDEZ Hayward, California
March 2006 TECHNICAL NOTES
e =e unless otherwise directed.
Harmonics are notated where stopped. The resultant pitch is notated above the staff. Indicates a right-hand “tapped” note. This is done by forcibly pressing the pad of the right-hand index finger against the fingerboard at the
given note and then releasing with sideways motion (towards the floor) that allows the string to rebound and vibrate (similar to a left-hand pull-off). The left-hand must be in position for the next note as the release of the right-hand with result in its execution. This is a technique that is frequently employed in rock music. Dotted slurs indicate slurs between non-adjacent notes (on the same string, however). (m i) Indicates a segue fingering. Excepting the key signature, accidentals apply only to the notes they precede.
ÉTUDEÑIOS
DURATION: 10’00”
DEDICATED TO BRET HOAG
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T O B R E T H O A G
É T U D E Ñ I O SC O N C E R T S T U D I E S F O R S O L O G U I T A R
aP.O. BOX 2372
CASTRO VALLEY, CA [email protected]
RAFAEL HERNANDEZ (2001-03)
ALL RIGHTS RESERVEDALL PERFORMANCES LICENSED THROUGH BMI, INC.
ÉTUDEÑIOSCOPYRIGHT ©2006 RAFAEL HERNANDEZ
[BLANK]
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I . S T R E L L A S E
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É T U D E Ñ I O S 3
I . S T R E L L A S E- r.h. "tapped" note
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I . S T R E L L A S E
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É T U D E Ñ I O S 5
I . S T R E L L A S E
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É T U D E Ñ I O S6
I . S T R E L L A S E
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É T U D E Ñ I O S 7
I . S T R E L L A S E
5'00"DECEMBER 2001COLUMBUS, OH
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* except where noted, all subdivisions remain equal from measure to measure.** tuplet numbers apply only to the note groups to which they are assigned.
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É T U D E Ñ I O S 9
I I . U N B R O K E N
![Page 14: Etudenios](https://reader031.vdocuments.us/reader031/viewer/2022020422/568c0f441a28ab955a937b3a/html5/thumbnails/14.jpg)
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É T U D E Ñ I O S10
I I . U N B R O K E N
1'10"JULY 2003
BLOOMINGTON, IN
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* durations are proportional; one staff line equals 6"-10" of time.additionally, within proportional measures, accidentals apply only to the notes they preceded.** all tremolos are cross-string tremolos.
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É T U D E Ñ I O S
![Page 17: Etudenios](https://reader031.vdocuments.us/reader031/viewer/2022020422/568c0f441a28ab955a937b3a/html5/thumbnails/17.jpg)
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I I I . F E A T H E R L I G H T
É T U D E Ñ I O S
3'30"FEBRUARY 2003
BLOOMINGTON, IN
![Page 18: Etudenios](https://reader031.vdocuments.us/reader031/viewer/2022020422/568c0f441a28ab955a937b3a/html5/thumbnails/18.jpg)
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