guitarra clasica barroco. 13

8/4/2019 Guitarra clasica Barroco. 13

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2

4

3

2

marcar el bajo

6

2

4

3

5

2

4

3

5

2

4

3

5

2

4

3

6

2

4

3

64

A Juan Ruano

= 56

5

2

4

3

(DE «24 PIEZAS SUDAMERICANAS»)

MILONGA

6

2

4

JORGE CARDOSO

3

24 Piezas Sudamericanas, p.2



5

3

C.VIII

6

5

3

5

2

45

3 1

2 2 2

C.III

3

2

C.III

2

C.I2

4

C.I

22

2 22

2

54

3

2

2 22

C.II

4




F I N

C.V

5

C.III

D.C. aly F in

2

5 4 3

C.II

4

C.I

3

4

3 2

C.III

3

2

4

2

5

C.III C.II C.III

Pak, Tae-yun (HiTEL ID: thilbong)

1995. 1. 15. Sunday 24 Piezas Sudamericanas, p.4



A Juan Ruano

2ª GUITARRA

= 56 p a m i

(DE «24 PIEZAS SUDAMERICANAS»)

a m i a

MILONGA

p a m i a m i aC.III

JORGE CARDOSO

(OPCIONAL)

C.I

C.III




C.I

p p p mmmi i

4

C.III




D.C. aly F in

F I N

C.V C.X

2 2 22

2 2

2 2

C.I

C.III

Pak, Tae-yun (HiTEL ID: thilbong)

1995. 10. 31. Tuesday 24 Piezas Sudamericanas, p.7



TPS -040

F

These twelve Studies are relatively brief but each is focused on one or more

musical and/or technical objectives:

– slurs (left hand ligados).

– arpeggios of various kinds.

– rapid changes of texture and velocity.

– juxtaposition of three versus four.

– contrary motion.

– mainstream jazz ‘inequalities ’.

– fourths.

– rapid alternation of compound slurs with staccato chords.

– harmonics, both natural and ‘artificial’.

– legato versus staccato lines. – downward ‘bending’ of pitch, expressivity, and unfamiliar key.

– rapid alternation of barré chords or harmonics with slurred

octaves, and irregular changes of metre.

Fingering is always a deeply personal matter; some of that in this edition may be‘unexpected’—but it is that arrived at (after long consideration) by Antonio deInnocentis, the dedicatee of these Studies, who produced a finger-perfect home-recorded CD of them about ten days after receiving the scores!

Metronome markings are suggested averages, not intended to be rigidly adheredto. The essential thing is that the spirit of the music itself should be maintained.

N

Roman numerals following ‘C’ represent barrés at the indicated fret, their ‘depth’ is defined by the associated vertical brackets.

Roman numerals alone indicate that notes are to be played at the normal placesin the position they define.

Dotted curves indicate left hand slurs (ligados),

Finger numbers connected by thin lines represent continuation of the fingeralong the same string, without portamento.

Note-heads connected by thick lines (in No.) indicate marked portamenti.Only the first octave of each pair is to be struck.

J W. D ()



TPS -040

A tempo22

f

25

2

4

3

3 0

3 3

4

0

4

3 0

0 00

3

1

3

2 1 4

cX

4

3

28

cVIII

4 23

4

1

1 2

2

4 0

3

3 1

1

p sub.

31

f sub.

2 4 3 2 0 1

p sub.

2

f sub.

2 3 2 0

cVI 4

p sub.

2

35

cVII cVIII

cIX 2

cX

4

3 2

3 4

1 3

f

38

p sub.

3 2 1

0

5 p

3

4i

1 3 4

0

a

4

4

4

p

3

11

i a

0

3

3

papoyando

2

1

a m

2

i

4

1

a

1

m i

3

a

4

f

m

3/2/1 Correct Fingering?Slurs?



TPS -040

- VII -

Allegramenteh = 104

cVII

f

34

24

2

3

13

5

4

1

42

6

3

00

5

4

1

04

2

00

3

cIV

42

3

4

5

00

0

4

0

0

3

4

p

21

42

1

1

32

4

3

4

3

0

2

f

4

3 cIV

9

5

4

00

4

3

cIV

2

43

4

2

1

03

cVII

p

3

cV3

cIII

3

31

f

cVIII3

cVI3

13

esitante a tempo

a tempo

00

1

34

4

3

34

43 0

0

43

43

17

43

43

1

34

1

242

4

1

00

mp

3

cII

4

4

3

cIV

2

2

21

poco rit.

cV

4

4

cVII

4

cIX

4

4

2

cX

4

1

23

4

f

25

p

29

senza rall.

f

cIV

cVII

f

42

231

31

5

004



TPS -040

- VIII -

Poco giocosoq = 132-138

42

4

3

4

3

5

5

2

4

cVI

2

4

0

33

1

3

2

2

3

31

5

2

41

2

1

4

3

4

3

cIV

4

2

3

31

2

1

1

8

4

1

3

4

3

3

0

1

2

4

0

2

3

4

0

4

3

4

3

2

4

3

2

4

4

2

12

0

31

13

4

03

3

3

21

42

0

41

3

4

1

23

31

5

41

42

15

4

13

4

3

5

2

4

21

3

02

4

1

4

31

6

1

1

43

18

1

43

1

2

cIX4

4

1

4

3

6

1

2

401



TPS -040

- IX -

q = 80

Tranquillo

6 = D

1

IX

XII

4 VII1 2

IX

4

XII

XII

2

4

XII

XII 1

2

VII

VII

3

4

VII

1

4

XII

2

4

XII

1

VII

4

XII

1

VII

1

2

VII 42

44

1

6

6IX1

4

XII

1

VII

4

IX

1

4

XII

45

31 6

1

4

1

VII

4

poco rit .

9

12

4

3

514 6

31

3

4

4

XII

6

4

V

H.8va0

23

1

1

64

4

VII 0

23

3 cIII

43

4

0

1

20

15

1.

2.

4

2

34

14

23

4

1

0

where is the fine?

A tempo where?

4

02

1

0

0

0

4

3

2

al locovibrando

1

D.C. al



TPS -040

- X -

Andante

q = 96

3

0

4

4 1

3

0

0

3

4

2

0

2

1

4 3

4

3

4 1

0

4 3

0

3

1

2

1 4 4

0

2

3

2 0 4

7

3

2

3

1

4

1

2

3

4

0

3

0

2

0

0

4

10

1

2

3

4

4

1

4

0

3

2 1

0

4

1

4

2

13

1

1

2

2

42

4

3 2

42

4

3 1

4

3 2 4

1

2

4 3 2

16

1

4 0

0

3 4

20

poco rit.

23

a tempo

0

Play legato all quarter- and half-notes and bracketed passages containing them.

3

6

3

0

24

0

1

3

cIV

4

33

1 2

24

0

3

1

1

4



TPS -040

- XI -

Largo, con dolore e liberamenteq = 60

14

2

3

2

cVI

4

4

2

2

6

321

0

33

24

cVII cVI

3

4

4

4 2

5

24

012

4

23

1

4

cVI

4

2 3 1

2

14

0

21

204

3

21

0

9

31

2

0

4

cIV

3

4

1

0

4

cIV

0

3

2

4

cII

2

cI

3

2 4

2

3

3

4

13

3I

0

1

020

4

3

4

003

0 1

2

3 3

014

2

2

16

cI

2

3

40

2

cI

3

1

1

2

40

4

3

0 3

4

cIV2

18

2

1

2

2

22 poco rall .

1

230

3

2

1

4

4 02

34

0

3

6

241

2

2

54

31 4

H.XIX3

2 1as for - G to APut finger on A

, push sideways far enough to produce A

, THEN pluck and allow to return to A

.1

guitarra clasica barroco. 13

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