Brouwer - Estudios Sencillos Etude No. 1 - Rene Izquierdo - Tonebase Workbook

Brouwer: Etude No.
LESSON WORKBOOK
Your Instructor: René Izquierdo

About This Lesson WATCH LESSON
In this lesson, Rene Izquierdo breaks down Brouwer's Estudio Sencillo no. 1. He offers fingering
solutions for both the left and right hand and clarifies the unexpected Cuban influence on some of
the rhythms and patterns used by Brouwer.
Cuban-born René Izquierdo is a unique artist and passionate

educator whose career has been dedicated to inspiring individuals
and connecting communities. Whether passionately performing on
stage, devotedly mentoring his students, fundraising, or leading
community outreach, René’s multi-faceted approach endeavors to
continue creating experiences that enrich people’s lives and add
beauty to our world.
Contents
03
Introduction
04
Dynamics
04
Right hand
04 Left hand
If you have any corrections, comments, or critiques relating to this

workbook, please send them to ethan@tonebase.co. We strive to
deliver the highest quality enrichment experience. Thank you!
Introduction
Brouwer writes two-measure phrases throughout the etude. Within this structure he also
references two Cuban rhythms: the Son clave and the Cinquillo. Brouwer combines them in a
sense, modifying them from their original form. Understanding where these rhythms come from
allows for a deeper level of nuance while playing this music.
Son clave cinquillo
Call-and-response is an African musical tradition used in the Caribbean and American jazz that
Brouwer often uses. Finally, Brouwer is also taking inspiration from a Cáscara rhythm from Palito
patterns.
Separate the melody and accompaniment and practice them individually to better understand the
rhythmic combinations.
03
Dynamics
Because of Brouwer's rapid contrasts, all dynamic changes should be very well controlled. Practice
creating a clear range from pianissimo to fortissimo. Dynamics should come from the beginning of
a student’s journey!
Right hand
Tempo says “movido” which means moving. The tempo varies, but if it loses the groove, the Cuban
essence is gone. Syncopation and phrase shape should be clear.
Don’t plant one finger at a time. Plant pima and drop the forearm so the hand feels a bit more
relaxed. Your specific ideal hand technique might be slightly different than Rene’s. Rene prefers a
straight wrist. When he finishes playing a bass string, he’ll move the finger to the next string. If
you’re remaining on the same string with the thumb, re-plant the finger as a way of cutting the
previous note.
Where’s the balance of your hand at any moment? Usually, it’s in the ima fingers.
Left hand
If your instrument is a bit larger for you, you can put a capo on the second or third fret, moving it
down as you get more comfortable and experienced. Look for fingerings that allow the piece to be
performed with ease.
Damp the low E simultaneously with the D in the bass. The melody is mainly on the fourth, fifth, and
sixth strings, so pay attention to where your left-hand wrist is. Keep an arch in the fingers, keeping
your wrist against the neck.
04
Brouwer often breaks patterns at repeated sections to bring out moments that are different. Use
weight transfer to aid your left hand, especially when playing 4-2.
Squeaking sounds are very common in a piece like this. Learn in the early stage of playing how to
eliminate these. Squeaks come from how we release the string and the pressure that we use in the
left hand.
The call-and-response section where the melody moves between treble and bass is easiest done
with rest strokes so that the thumb is actively prepared on the fifth string.
Placing barres as high as possible, regardless of which strings you need barred, makes the other
fingers more flexible. Always work backward from a given position to find what’s required to get
there.
Leaning toward the guitar with your left elbow can sometimes accommodate wide stretches in the
left hand.
Experiment with color changes at different dynamics. To play dolce or sweetly, Rene plays at a
different angle with the right hand, and up over the soundhole. Don’t place your thumb back on a
string before it starts fully vibrating, otherwise there will be a soft sizzling sound. Noises don’t
always have to be taken for granted if we can avoid them.
05

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What rhythmic influences does Brouwer draw from in Estudio Sencillo no. 1?

What techniques does Izquierdo recommend for controlling dynamics?

Brouwer: Etude No.

Your Instructor: René Izquierdo

Cuban-born René Izquierdo is a unique artist and passionate

If you have any corrections, comments, or critiques relating to this

Son clave cinquillo

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