The tone actually to be produced is shown. Rather than propagate this non-standard and occasional inconsistent notation I have replaced it with notation I feel to be most literallyaccurate. I have removed redundantaccidentals except in a very few cases and have parenthesized the exceptions.Another convention, sufficiently confusing to cause comment on it to appear in both introductions andappendices to the Eschig editions, is that of the notation of harmonics.

Where courtesy accidentals do appear warranted, theymay best be enclosed in parentheses to eliminate possible confusion. The usage of courtesy accidentals is unnecessary if one follows the usual rulesof key signature and employment of accidentals. One of these is the very frequent appearance of unnecessary sharps, flats and naturals.This can be disorienting. An additional factor which led me to copy these studies is that of certain conventions followed in theoriginal editions. The fingering I have added is that which I feel to be useful to a broad range of guitarists, leaving outonly very natural or not particularly important usage for the left hand and providing at least someindication of that for the right hand. Evenif one makes the considerable effort required to work it out, the result is likely to be a very messy copy ofones music. The best fingering is not always obvious in these pieces. Thematerial, while not particularly difficult, does range all over the guitar fingerboard in such a way as tomake it very challenging to play on sight. The reason that I did so, however, is that the Eschig editions, which probably camemore or less directly from the hand of Villa-Lobos himself, contain almost no fingering indications. By virtue of theirbeing copyrighted and also easily available from the publishers there seems little point in creating a newedition such as this. The Guitar Studies of Heitor Villa-Lobos These twelve studies are copied from Editions Max Eschig M.E. Heitor Villa-Lobos ~Doze Estudos para Violo edited by C.

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