25 Études esquisses, for Guitar

Gerald Garcia: 25 estudios-bocetos, para guitarra.

This collection of classic guitar studies is intended for the intermediate guitarist. As a whole, these etudes emulate the content of Carcassi's famed 25 Etudes, yet in a more contemporary harmonic and rhythmic idiom. These pieces are also distinguished in that they are not only valuable as left and right-hand technical exercises- but also as valid, pleasurable concert repertoire. The first ten etudes 11-20 focus on the use of the a finger in combination with i and m. Etudes 4,7,11,13,15, and 17 also concentrate on left-hand slurs. The final five etudes were composed as - and intended to be performed- as a set with each piece dedicated to a particular Latin American composer.

CONTENIDO:

Foreword
Etude No. 1
Etude No. 2
Etude No. 3
Etude No. 4
Etude No. 5
Etude No. 6
Etude No. 7
Etude No. 8
Etude No. 9
Etude No. 10
Etude No. 11
Etude No. 12
Etude No. 13
Etude No. 14
Etude No. 15
Etude No. 16
Etude No. 17
Etude No. 18
Etude No. 19
Etude No. 20
Etude No. 21
Etude No. 22
Etude No. 23
Etude No. 24
Etude No. 25
Gerald Garcia Summary Biography
Discography

This collection of classic guitar studies is intended for the intermediate guitarist. As a whole, these etudes emulate the content of Carcassi's famed 25 Etudes, yet in a more contemporary harmonic and rhythmic idiom. These pieces are also distinguished in that they are not only valuable as left and right-hand technical exercises- but also as valid, pleasurable concert repertoire. The first ten etudes 11-20 focus on the use of the a finger in combination with i and m. Etudes 4,7,11,13,15, and 17 also concentrate on left-hand slurs. The final five etudes were composed as - and intended to be performed- as a set with each piece dedicated to a particular Latin American composer.This collection of classic guitar studies is intended for the intermediate guitarist. As a whole, these etudes emulate the content of Carcassi's famed 25 Etudes, yet in a more contemporary harmonic and rhythmic idiom.

These pieces are also distinguished in that they are not only valuable as left and right-hand technical exercises- but also as valid, pleasurable concert repertoire.

The first ten etudes 11-20 focus on the use of thea finger in combination with i and m. Etudes 4,7,11,13,15, and 17 also concentrate on left-hand slurs. The final five etudes were composed as - and intended to be performed- as a set with each piece dedicated to a particular LatinAmerican composer.

CONTENIDO:

Etude No. 1
Etude No. 2
Etude No.3
Etude No.4
Etude No.5
Etude No.6
Etude No.7
Etude No.8
Etude No.9
Etude No.10
Etude No. 11
Etude No. 12
Etude No.13
Etude No.14
Etude No.15
Etude No.16
Etude No.17
Etude No. 18
Etude No. 19
Etude No.20
Etude No.21
Etude No.22
Etude No. 23
Etude No.24
Etude No.25
Gerald Garcia Summary Biography
Discography