Klami ETUDES

EDITION WILHELM HANSEN WH33454

Markku Klami

ETUDES for guitar (2021)

SCORE

Markku Klami

Etudes for guitar

(2021)

Written for guitarist Patrik Kleemola With support from The Finnish Cultural Foundation and The Arts Promotion Centre Finland

SCORE

Copyright © 2021 Edition Wilhelm Hansen AS, Copenhagen WH 33454 ISBN: 978-87-598-4448-9 ISMN: 979-0-66134-756-9 Music engraving in Finale Publisher’s editor: Christopher Corcoran Edition Wilhelm Hansen AS Bornholmsgade 1A 1266 København K Denmark www.wisemusicclassical.com

Foreword Etudes for guitar continues my long collaboration with the Finnish guitarist Patrik Kleemola. The initial idea for a set of new etudes for guitar came up in a conversation I had with Kleemola back in 2017. Our mutual point of view was that contemporary music doesn’t play a substantial part in the repertoire of students in music institutes. In fact, the vast and rich oeuvre of today’s composers is something that students only come across during their academic studies in music. As we see it, the situation is more or less the same around the world. Our wish was to address this issue and contribute to the availability of contemporary music in the repertoires of students, also younger students.

Although Etudes is pedagogically designed to target different playing techniques—both traditional and unconventional—my aim was just as much to compose pieces that would be suitable for concert use by students and professional guitarists alike. The result is a collection of ten etudes covering a wealth of moods, styles and sonic possibilities of a solo guitar.

The technical difficulty level increases gradually as you progress through the etudes. The first etudes are suitable for younger and more experienced students alike, whereas the last etudes are primarily targeted at professional guitarists and students pursuing their professional degree in music.

Since the beginning of this project, Kleemola and I had agreed to make video recordings of each etude, which will be published on Kleemola’s YouTube channel. Targeted to an international audience, each performance video is accompanied by a conversation video with Kleemola and me, where we further explain the pedagogical and musical aims of the individual etudes. These videos will be accessible on Kleemola’s YouTube channel from September 2021 onwards.

Etudes for guitar is dedicated to Patrik Kleemola.

-- Markku Klami, 2021

Etude 1: Arioso Arioso opens the series in a gently rocking dreamlike mood. It brings forth some of the key elements of all the etudes and showcases my compositional goals in writing for guitar: Making use of open strings and various natural harmonics, resulting in a resonant and sustained timbre, where every and each note should be audible as long as possible. The left hand ‘pull-off’ legato technique is introduced in this etude and the descending legatos develop from one-string legatos to three-string legatos.

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Etude 2: Memoria (Remembrance) Memoria concentrates on left-hand legato (‘hammer on’), as the bass line calls for a frequent use of this playing technique. The repeats are varied, much as in Baroque music with its different ornaments. The use of the left-hand thumb on the fingerboard is introduced in the last chord of the piece.

Etude 3: Riite The old Finnish word ‘riite’ means a very thin layer (or crust) of ice on the water’s surface – a phenomenon found in small water basins when the temperature drops just below 0 degrees Celsius.

This etude concentrates on progressions of sustained chords (to be played as legato as possible). The one-finger tremolo technique is introduced in this etude and some harmonics are played with the left hand’s thumb (a technique introduced in the previous etude).

Etude 4: Agitato nervosamente Agitato nervosamente showcases hammering notes on the fretboard with both hands. A particular emphasis should be given to maintaining the balance between the two melodic lines: the higher melodic line that needs to be plucked in a traditional manner and the bass line that requires a hammering left-hand legato. On the second system of the second page, there are particular open string legatos in the midst of arpeggios. When using the right hand i-finger on the fourth string, the player should find the correct angle for plucking so that string noise doesn't interfere with the sound.

Etude 5: Nocturno. Väre (Ripple) In Nocturno, the harmonic palette is expanded further by introducing microtonality. The microtones (rounded to the nearest quarter tone in the notation) are produced by plucking the strings over the fingerboard on the ‘wrong’ side of the left-hand grip. Other extended playing techniques include producing microtones by first muting the strings with the right hand and then hammering the strings with the left hand, allowing the strings to resonate between the nut and the grip.

The unconventional playing techniques introduced in this etude make it possible to let more than six different notes ring out simultaneously.

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Etude 6: Puro (Stream) In Puro, the focus is on a continuous stream of rapid four-note arpeggios, using the classic p-i-m-a right-hand fingering, occasionally expanded further to five-note arpeggios by the use of a hammering left-hand legato. For classical guitarists, the p-i-m-a fingering is one of the most common fingerings for an arpeggio, but is often tricky at first and requires intense practice before becoming perhaps the most natural of all arpeggio techniques. This etude is a great workout for this technique.

Students can practice this etude at a tempo suitable for their current technical level. The goal is to develop the p-i-m-a arpeggio until it can be executed very quickly (while musical changes from one repeating bar to the next are still very gradual). While practising, one might imagine a small stream that keeps moving forward infinitely.

Etude 7: Unisono Unisono is characterized by varying rhythms in the time-signatures of 7/16 and 8/16. Here the focus is on balancing the brief melodic motives and the repeated notes (unisons) on multiple strings. A sudden middle section titled ‘Più tranquillo, ma poco pesante’ is based on the melodic motif of octave intervals.

While the previous etude focused on the p-i-m-a arpeggio, this etude is a workout for a-m-i arpeggios. Particular attention needs to be directed at playing accented notes louder than the neighbouring notes while still staying within the assigned dynamic range. In the ‘Più tranquillo, ma poco pesante’ section, the guitarist should play all notes with tenuto markings by using apoyando.

Every second bar begins with a double apoyando, plucked with the p and i fingers simultaneously.

Etude 8: Avautuen (Unfolding) Avautuen might, like Etude 6, Puro, bring into mind the minimalist character of the music by Steve Reich and Philip Glass during the 1970s. In fact, I consider Avautuen to be a homage to these composers.

A new unconventional playing technique, at least in traditional writing for classical guitar, comes into play here. Throughout this piece, the score calls for partially muting strings by varying the pressure of the left-hand fingers on the fingerboard. This presents a challenge to the guitarist, who must maintain the balance varying the pressure of the left-hand fingers and controlling dynamics by plucking the strings with the right hand. Once mastered, the piece becomes an endurance test for the right hand through its continuous chord repetition, similar to Etude No. 4 by Heitor Villa-Lobos.

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Etude 9: Kangastus (Mirage) A prominent feature in Kangastus is the use of a glass slide. The strings are plucked from both sides of the slide, resulting in sounds familiar from traditional slide guitar playing, as well as almost outof-this-world sonic phenomena typically found in electroacoustic music.

One can think of a mirage-like, even delirious state of mind.

Etude 10: Roihu (Blaze) Roihu begins with sonorous dreamlike sections only to develop into a furious and technically demanding finale to the Etudes. At times, the hectic pace is reduced in calmer passages, only to speed up again, leading to a crackling climax at the end of the piece.

The use of very fast scales, tremolos, traditional arpeggios and one-finger arpeggios results in kaleidoscopic textures placing the highest technical demands on the guitarist.

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dedicated to Patrik Kleemola

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www.musicsalesclassical.com WH33454 ISBN 978-87-598-4448-9 ISMN 979-0-66134-756-9