muna: ii for amplified classical guitar and computer generated sounds
juan campoverde q. 2006 - 12
muna: ii
7
For Amplified Classical Guitar and Computer Generated Sounds
•
e»46, flexible (accel. y rit. ad libitum)
Tuning:
rK 7:8œ
58
rit.
j 5:4œ
rK 7:5œ
& 28 !œO
48
r 7:5œ
"
r 7:6œ Kr 3:2œ
rK 5:4œ
®
28 n oœ
e
bœ
®œ
3
1
o
»38
e
»46
‰
38 10 œ bœ nœ 81 8 Oœ o œO n œO .. !œO J p R 4 ( l. v. ) The tuning of quarter-tone notes (sixth, fourth, third and first strings) shouldPbe as preciseb –as The p written notes on the score, and ( l. v. ) . possible. R 28 48 38 10 their actual sound, however, do not # !– 28 81 8 Guitar reflect this tuning system. The information tuning of the guitar is being used. # they provide is to be followed as if the traditional 4 r. h.
•
2" 8
Performance Notes:
1
R bœ F
œ!!!!!!!!!!!!! 4 œ œ ! gliss.! .intenso ! . b œ 8
1
gliss. intenso
5
2 8
b œ œ 38 â subito ff
bœ. â f
5
J
> and technique. The upper staff follows the traditional conventions >rK > about > 7:8notation œ P
1
œ
1 œ U 10 8 " 8
The squared-shaped notes in the middle staff, to be played by the right Jhand, are produced by plucking the indicated string in the segment between the point where the left-hand finger(s) press the string (as notated in the staff), and the head of the instrument. The notes of the lower staff are to be produced by using the hammer-on technique. Left hand, stems down; right hand, stems up. e
»46
molto esitando!
U
s.p.
63
#œ -œ œo # ¥œ
10 & 8 Guitar
".
5
PJ
10 8
‰
œ
# ϴ
( l. v. )
–
5
®
o
œ U
–
–
3
¨
nO œ ç
U
r 5:4œ
‰.
" o oœ nœ œO
10 8
!œ J
œ
‰.
1
5
# œ œ! . # œ 4
® œœ œ n œœO
3
œ .. 4 Oœo.... 8 Oœ.. œ- .. P
#¥ œ
"
4 8
1
3
U
bœ œ bœ
p
1 8‰
3 8
1 8
3 8
1
nœ
œ b œ b œ b œ b œb œ 1
2
48
4
F
4
p
œ œ
81
nœ
2
38
2
A mplification Cinta
•
The guitar needs three (3) microphones for its amplification: ca. 04:56
ca. 05:10
F
Two microphones are used for the upper two thirds of the instrument (including the head or tuning system). The microphones should capture the very subtle but dynamically weak sonorities produced (such as those produced by by-tones). One microphone should be used for the lower one third of the instrument (including the main body of the guitar). •
Two speakers (L and R) should be used for the amplified guitar, and they should be placed, on stage, relatively close to the guitarist. Computer Generated Sounds (Tape)
•
The tape part, stereo version, begins muna ii: the guitar follows almost immediately. Then both, guitar and tape, continue until the end.
•
The dynamic/volume level of the tape part should be at the same level or a little bit below than the part of the amplified guitar. The guitar part is the main part of the piece and should be kept in the foreground.
•
Two speakers (L and R) should also be used for the tape part, and they should be placed on stage, relatively close to the speakers used for the guitar, so as to project a unified sonority with the amplification being used for the guitar part. For muna ii, we should then use four (4) speakers, with the TAPE speakers placed outside: TAPE Left
GUITAR Left
GUITARRIST
GUITAR Right
TAPE Right
Approximate duration: 9 min. 10 to 9 min. 20 sec.
muna ii attempts to trace a path through the spaces found within our intimate selves. Seeks to touch them, to encounter their fractures, their creases, and their luminescence. muna ii is dedicated , with immense appreciation, to Colin McAllister.
muna: ii Para Colin McAllister, con mucho aprecio
e» 54
e»£• delicadamente, pero con muchísima intensidad j
tempo giusto
p 38 œ o
& 28 28
Guitarra
molto esitando
p
!
2
2œ 8
rK 7:8œ
"
- ( l. v. ) 78 # ·. œOœ. .. 5
Kr 7:8œ
f
3
5
2
p
Ø
f
œO- .... p
78 p
p
F
r 7:6œ
j
o ( l. v. ) œ.
( l. v. )
6
4 œœœœ œœœ œœÙ ‰ Ù œ $ œ . 3 n œ # œ $ $ 7 #œ 8 #œ. 8 gliss. ! intenso u æ
æ
4
ritardando
( l. v. )
3 # 8
f
juan campoverde q.
#– – –
1
#œ
œ
œ #œ.
4
n–.
4
# œ- . œ .
‰
1
1 r 5:4œ
#
!
j
e» 46
28 28
ä œ. ® 2 ® nœ. 8 4
1
p
Cinta
A 00:00
e»46, flexible
" 2 & 8 œo
( l. v.)
r
2 8 p 28
5
œ .. !.
j #œ œ.
® 1 œ bœ 2
4
p
e
j
j
4
Guitar
ritardando
rK 5:4œ
1 8 Oœ 1 8
o n œ 28
( l. v.)
#–
–
3
#–
1
2 8
1
4
18 # œP
28
»£•
n Oœ. ....
-
tiernamente
rK 7:8œ
–.
œ ..
pochissimo decresc.
Cinta
ca. 00:20
All rights reserved © 2006 - 2012
® 48 * œOO˙ 4 8 ®
48
P
œo
( l. v.)
– ..
® 3 16 ‰ .
2 8
3 16
2 8
3 16
28
* Dejar que el armónico de la quinta cuerda resuene tanto como sea posible. Let the fifth-string harmonic vibrate for as long as possible.
2
(e 9
»38 )
& 28
c
28
Guitar
fO
c
Kr 7:8œ
p œ .. 2#œ 8 n œ ..
œ
p
3
5
P
#O
Oœ . .
œ
p
o
œ ..
1
#œ
œ
® ‰. œ
nœ
3
œ .. ® "
#œ
5
5
4
‰
#œ
œ œ #œ 6
6
œ ..
5 Π16
" 38
5 16 œ
3 8
5 16
1
Œ œ!! !!œ gliss. c intenso ® œ 2 #
1
œo ..
®
nœ
®œ
œ
38
œ
3 2
accel.
12
3 &8 P ·œ .. Guitar
2 n œo 8
4 8
( l. v. )
3 8
4 8
F j
p
f
æ œ
œ
p
(e
p
P
r 7:6œ
"
rK 7:8œ
p
œ
· nœ
3
# œ. #œ 4 Ù 2 nœ. n œ ! ! ! #œ 8 #œ œ 3 gliss. ® " æ 4 intenso
2
4
2 8
F
3 œ 4 œ 8 # œ n œ .. " 8 # œ n œ . .æ . â æ 5 3
a tempo
1
1
r 7:8œ
o 3 -œ . 8 · nœ 3 8
r 7:6œ
‰
( l. v. ) 3
p
–
#– . 1
–
pochiss. decresc.
3 8
rK 7:8œ
»38 )
esitando 17
3
o
& œœœ! ... O . œ. 4
Guitar
o 2 œ 8
#œ
4
p
2 8 nœ 3
6
œ.
P
r 7:6œ
Cinta
ca. 01:17 B
Kr 3:2œ
28 œ 5
Oœ ..
( l. v. )
®
1 8
2 œ 8
1 8
2 8 p
2
œo
81 œ . ® 28 b œ 4
nœ . 1
F
O nœ
r
bœ. " bœ rK 7:8œ
4 8
bœ 1
rK 3:2œ
e
n ¥ .. nœ . .
4 8
œ .. 48 œ
® ‰
U
"
»54
3 4 3 4 43
3
e
»54, flexible
s. p. + 22
& 43
S 43
Guitar
ä
® œ
Oœ....
2
ritardando
#œ
n œo
Oœ .. ..
r
#œ 1
3 4
1
F 4
nœ !
ä
#œ œo . 38
#– n– –
( l. v. )
»46, pero flexible (accel. y rit. ad libitum)
Kr 7:8œ
r
1
e
38
r
æ2
3
p
r 3:2œ
p
28
F j 4 ! œ . äœ œ r 3:2œ
Œ 3 œ. 8
® nœ
4
28 œO .... Oœ .. f
O œ
®" "
( l. v. )
2
r 5:4œ
e
38
42
38
42
a tempo
œU œ #œ 2 œ. 3 ® 8 ` # œ œ # œ # œn œ # œ œ# œn œ # œ . œ . 8 œ !
Ø
2
u
1
r 7:6œ
»54
r 5:4œ
p
æ
r 7:6œ
#œ f
2 4
4
Cinta
ca. 01:53
e
»54 (siempre flexible) ritardando
s. p.-
^^ ^
e
s. t.
‰ !. ® # œ 2 œ & 4 o œo 1 p
26
Guitar
2 4
# œO p
P
»£•
ritardando s. p. +
rK 7:8œ
2 8 O. œOœ ... 2 8
seco
F 2 4
3:2œ
!
nn œO # œO œ¥ ....
# œO .. #–
1
j
4
1
3 ¨ 4 . n œ œ œ # œ . œ ‹ œ ®# œ42 #œ œ ! 28 S æ j r 5:4œ 5:4œ # p F p 3
s. p. r 5:4œ
® 42
e
! nœ
42 œ ..
3 j 5:4œ
p
!nO œ –
»30, casi en un tiempo suspendido rK 7:8œ
3 4 3 4
®‰
O. œ. u –
2
3
34 œ . 4
P
# œ–
R
b–
s. t. +
®o nœ O. . u œ #– . p
1
U
e
2 4 œO
2
2 – 4
4
#œ 2 4 2
»46
4
e
»46 (siempre flexible) 3:2œ
30
s. p.
2 &4
F 42
Guitar
seco, cortante
#œ
œ
1
œO .. p
rit.
® ‰.
3® ! 8 38
n–
4
42
38
#– –. 2
5
P
–
1
R
– ..
r 7:6œ
® o œ. O .. # œOœ .. p
e KKr 3:2œ
5
– – – – – 1
4
4
#œ 3
poco
»£•
rit.
2 4 5
¨
e
c
U
1
" . nO ‰ nœ b œ # c n œœœ ® n b œœ n œœ ß Ï 6 – .. c – .. œ ..
»30
!
»£•
3 4 – ..
2
p œ- . p
e
3
43 43
#œ
Su 5
Cinta
ca. 02:34 C
e 34
»£•
o
3 &4 ! Guitar
œ.
4
¥ .. n œ Oœ œ> 2
œ
#
43 # 3 4 #œ
j
j 5:4œ
O œ
æ
6
œ
œ
»46 (siempre flexible)
O. 5 œœ .. 8 O œ .. 85
p œ
œO
( l. v.)
o j
e
4
œ
Kr 3:2œ
#œ j 7:6œ
!
5
œ
F
œ
5 8
*
e» 54
‰.
3 4
5
43
œ
4
bœ # œb œ
1
3 4 3
Cinta
ca. 02:58 * Tocar las notas ornamentales dentro del decrescendo natural de las cuerdas libres. Play grace-note groups within the decay of open strings
5 e»54 1
36
3 &4
ritardando cristalinamente
œ
P 3 4
Guitar
Kr 5:4œ
œo
3
œ
œ4 œ # œ œo œo˙
!.
e
j 3:2œ
!.
»46
2 œ. 8
5
e
!
2 8
43 Π.
»54
ritardando
3 8 O œ. p 3 8
2 8 2 8
6
4
#œ. " " " " " " " " 28 œ . 38 b œœ" ! . œ œ . ! œ. œ"""""""" œ . 5 6 RÔ # gliss. intenso RÔ ær rK 5:4œ 7:6œ â p f ß p Ë 4
r ä
28 œ . # œœ . 5
p
6
! œ f
e
»£•
e
1 8
»54 2 4
ä 1 – 8 –.
2 4
18 U® 42 œ.
rK 3:2œ
Cinta
ca. 02:58
ca. 03:15
D
e
»54
s.p.+
r 7:8œ
Guitar
s.t.
! œ
41
2 œ & 4 œO .. â 5 ß 1 4 p –– 24 – #– P
e
e» 46
rit.
œ Ù! 2
2 4
Ù
( l. v. ) 3 O .. 8 œOœ ..... 6 p 4 38
3 8
f
œ ß
œ
$J
e
»54
e
molto esitando
r 7:6œ
! ! O !. 3 œo nœ &8 p P R 1 –" – 3 8 R
45
Guitar
3 8
bœ 4
»46
78 7 8
!.
– 1
œ
p
ritardando
e
r 7:6œ
o
6 8 68 P 6 8
1
r 7:6œ
b œ ..
f
48
4 !‰ ‰ 4 # œ . n œ œ œ œ œ œ .! ® 8 n œF 4 F 5
Œ.
rit. s.p.
»46
4 8
nœ œ. œ. o œO o
a tempo s.p.
1
r 9:6œ
®
rit.
3 4 5
‹ b œœOœ ... œ .. P
e
U
®
P
»£•
2
6 8
œ" 5
R
e
»54
#œ. œ .. O nœ.
3 8
#œ œ
3 8
38
3
u
e
»£•
Uœ œ œ œ. 4 # ¥ œ. !. ! #œ #œ O # œ ¥ # œ ¥ # œ ! 3 # ¥œ .. 6 œ œ œ œ œo œ 8 o œo o o œ œo 8 œ. ¥œ ¥œ .. œo o o # ¥ ¥ o œo œ œ œ. # ¥œ œ¥ .. P œ˙ p p 2 3 f ( l. v. ) F ( l. v. ) 6 3 8 8
œ .U 7 œ 8 œ. !. $ æ
5
rKK 7:8œ
»54
3 % 8
e
»54
1 4 3 5
68 6 8 6 8
6
e
»54
s.t.
a tempo poco rit.
s.p.
p
4 2
49
Guitar
#œ. 2
e
s.p.+ 2
j 3:2œ
. . ®œ o o 6 o . b œ œ œ .. . œ O œ &8 œ O Oœ .. œo œ ! " œ J F r ( l. v. ) 5:4œ – 6 #– 8 6 8
ritardando
1
œ-
3 œ 8 J
¨
.3 2 ! b œœ ® 8 œ¥ 5 œ ß 2 8 4
3 8
3 œ . # œ . U! 2 8 8
! #œ.
æ
3
p
r 7:6œ
œ
p
n œœOO 48 œœ¥O...... œ œ .. "normal"
4 8
3
r 7:6œ
r 7:8œ
1
˙O œœ 4 R> 8
# #œ R
! ( l. v. )
œo ..
F
– 1
»46
¥œ .. 28
œo #–.
2 8
3
2 8
( l. v. )
e» 46
Cinta
ca. 04:14 E
e»46
a tempo j 5:4œ
poco rit.
53
2 & 8 ϴ .... Guitar
poco a poco rit.
® 81
F
s.t.+
o
o
3 16
œ
4 œ .. 8
1 8
r 5:4œ
®‰28 œ b œ œ 5 sub.S 5 p 4
bœ -
3 16
r 3:2œ
81 œœ .. b œ
Ù
3 œ 16
U
!
4 ‰. 8
!œ 2
r 7:5œ
F
( l. v. )
‰
5
48 6
p
s.p.
8 œ # ¥ . -o 8 œ. p
( l. v. )
2 8
r 3:2œ
œ.
œ œ. œ
æ
4 j 5:4œ
Ø
œO- .... p
8 8 88
1
ß
œ
® !
ä
œO F
œ Ë S
2
Cinta
ca. 04:31
e rK 7:8œ
® 1
œo – – f
Oœ .. œo .
»£•
e» 46
œO ....
2 8 2 8
3
œ 1
28
7
e»46, flexible (accel. y rit. ad libitum) rK 7:8œ
58
rit.
j 5:4œ
rK 7:5œ
& 28 !œO
48
28
Guitar
#
r. h.
28
"
48 1
5
»46
molto esitando!
U
s.p.
63
10 & 8 Guitar
10 8
#œ œ- œo # ¥œ 5
PJ
>
>Kr 7:8œ
".
R F bœ
5
1
®
o
œ
# œ¥ –
28 n oœ n œO .. b – . ( l. v. ) # !– 28
œ U
–
–
3
¨
10 8
!œ J
28
38
bœ
®œ
3
1
J p
38
b œ œ 38 â subito ff
p R
o
bœ nœ 4
bœ. â f
5
J
nO œ ç
U
r 5:4œ
‰.
" o oœ nœ œO
‰
!œO R
1
œ
F
»46
( l. v. )
10 8
81
10 8
œ 18 U" 10 8
# œ œ! . # œ 4
® œœ œ n œœO
3
œ .. 4 Oœo.... 8 Oœ.. œ- .. P
#¥ œ
"
bœ œ bœ
p
1 8‰
3 8
1 8
3 8
1
nœ
œ
1
2
48
b œ b œ b œ b œb œ
4
F
4
p
œ œ
81 2
2
Cinta
ca. 04:56
81
4 8 5
3
U
‰.
1
1
œ
®
e
J
‰
( l. v. )
"
4
!!!!!!! œ œ ! ! ! !gliss. ! !intenso œ ! gliss.! .intenso ! . b œ 48 > > P
e
œo O œO œ P
r 7:5œ
r 7:6œ rK 3:2œ
rK 5:4œ
»38
e
ca. 05:10
nœ
38
8 (e
»46 , molto esitando )
e»38
ritardando
66
3 &8
3 16 ‰ .
3 8
Guitar
!2 ! . # œ bœ . Ù® nœ œ œ œ œ œ œ 38 # œœ œœ œœ œœ œœ œ " " " " " #œ ! # p 2 poco 1
4
poco
f
F
a tempo 70
6 &8
®
‰ ‰ n O .. ˙ œ .. ˙
6 8 F 68 ‰ b œ .
P
4
3 8
3 16
f J
3 8
3 16
nœ 3
bœ 5
2
œ œ .. . ! 4 ® b œ 8 œ .. 4
®!
r. h.
¥œ
b–
–
8 6 8
U 6 !
œ 48 œ .. p
bœ fl f
U 6 !
( l. v. )
4 8
l. h.
5
38
8
r 5:4œ
4
e
O.
»46 esitando
a tempo j 5:3œ
‰
o œ ˙ 5 . O nœ 8 ‰ œ ( l. v. ) p –3 5 b– 8
Œ.
4
bœ
bœ ! "
-
r 7:6œ
con mucha delicadeza
1
r 5:4œ
œ œ
»54
r 7:6œ
ritardando
Guitar
e
poco rit.
1
‰.
r 5:4œ
85 # œ
œ""""""""""" "œ " " ""
æ
5
$
3
4
¨ œ ¥ œ
O. 3 œ œ. 8 p f
sfz
6
1 ® 4 œ .. 8 O . 8 œ .. œ.
delicadízimo
3
œO p
3 8 –. ‰ F r 1 l. h. bœ œ ! 38 nœ œ œ # œ" 2 ! $ 5 sub.
ritardando
( l. v. )
r 5:4œ
r 7:6œ
p
3
1 8
e
e
»£• 2 8
4 8
2 8
U ¨ œ œ- 2 .. 18 % 48 ® 8 œ ‹ œ .. ‰ 3 5 S p p 6 7:8œrK 3
ca. 05:40 Cinta
G
e 75
»46
accel.
Guitar
2 8
œo
nœ œ œo
& 28
a tempo
F j
2 bœ 8
e»38, flexible
ritardando
œ 3
Ù 6
œ-
P
rK 7:8œ
Cinta
ca. 05:52
48
38
4 8
3 8
4 8 # œœ .. .. 5
! 3$œ . 8 œ. æ !
œ.
6
3
p
1 r 7:6œ
U
‰. ® ‰. 68 # b œœ .... œO .... ( l. v. ) P delicadamente 6 8 j 3 2
r 7:6œ
U
#œ ® œ 6 œ® 8 #
r. h.
4
#œ Ë S
4
#"œ
F
#œ
nœ
#œ
1
®
81 1 8
nœ 1
p
»46
1 8
9
(e
»£•, muy flexible: accel. y rit. ad libitum) rK 3:2œ
79
& 81 ‰ 98 Guitar
bO œ
1 8
9 8
1 8
9 œ.œ 8 P
83
Guitar
æ
‰
Oœ ....
p
3
n Oœ
nœ œ
2
nœ 4
4
®
æ
bœ
1
F ®
"
rK 7:8œ
‰ 4
( l. v. )
f
b œ œ n œo O
œ ( l. v. )
œ
œ
1
#œ 3
1
®
28 œ . b œ n œ Oœ o 2 r 8 1
".
2 8
œ
4
r 5:4œ
6 8
8 8
6 8
F
68
O œ
‰
œO ..
p
o ‰. noœ
n œo œ b œ 3
4
# œO œO .. F
O œ
b–
4
r. h.
bœ
œ
1
3
æ
1
1 6
®
œ
3
œ
œ œ bœ nœ bœ nœ
nœ ® 5
r 3:2œ
3
‰ ..
œ
#œ
4
5
P
æ
œ 2
8 8 8 Ù 8
e» 46
3 8
e» 38
4 8
( l. v. )
3 –! 8 38 n œ p
# ϴ
f r. h.
æ
Cinta
H
œœœ
F
( l. v. )
œ
3 8
r 7:6œ
r 5:4œ
( l. v. )
88
b œ- 38 œ ..
molto esitando (accel. y rit. ad lib.)
8 &8 #
ca. 06:34
( l. v. )
p
r 7:6œ
rK 7:8œ
38
e»£• (siempre flexible)
e» 46
88
r 5:4œ
n œ o 3 o ( l. v. ) œ #œ œ #œ
# Oœ
# œ œ ! !# œ
4
2
® " ‰
( l. v. )
e» 46
accel.
ca. 06:55
œ œ œ 3
r 7:6œ
œ bœ
5
p
"
4 8 48
2 1
œ nœ nœ œ nœ bœ bœ 1
4 4
2
10
e»38, siempre muy flexible 2 87
4
o
8 & 8 # œœOœ nœ 6
P 8 8
Guitar
O .. œ ..
5
6
poco rit.
!–
8 8 Œ
1
#œ
Œ
– – 4
–
1
® ‰.
œo
œo
r. h.
accel.
3
œ
œ œ bœ œ œ
2
3
5
–
œo
œo
––
. œO . â
œ
œ
F
Ù‰
œ œ. o 2 œ œ # œ œ œœœ ... 8 œ o œ œO ..
r
p
– 6
p
– – 28 –– !– –
o 3 œ 8 œ
poco
P
2 8
U ( l. v. )
‰
3 8 œ RÔ
Kr 3:2œ
r 7:8œ
P
P
œo
U
a tempo
3 8
6 8 6 8
œ. ( l. v. )
6 8
Cinta
ca. 07:03 I
e» 46
accel.
2
6 &8 Guitar
68
p p 5
f
68 œœ . 3
F
æb œ 2œ .
æ1
"
r 5:4œ
bœ œ 3
œ
æ1
¥
œ
¥
œ
Œ.
38 "
38
s.p.
p
4
÷
-
( l. v. )
!œ . 1
Ø
1 8 ϴ 81
6
F
rK 5:4œ
œO
O ÷ œ O ÷ œ.
e
poco rit.
r 7:6œ
5
# ‰ ‰ ‰ œ œ œ. œ
p F
3 8
s.p.+
behind* the bridge
( l. v. )
90
e» 38
81 œ P 3
5
3
p
bœ
1
4
1 œ n œ œœ œ œ # œ œœ 2
4
KKr 7:8œ
* Detrás del puente: Tocar las cuerdas entre el puente y las clavijas de afinación. Play between the bridge and the tuning pegs.
Cinta
ca. 07:39
1
3 32 3 32
œ 3 œ 32
»46
U
® 78 78 78
11
Ricercar, a modo de coda e
»46, pero con flexibilidad
r. h. 95
÷ & 78 p ÷ 1
6
‰
7 8
Guitar
‰ ..
#– P
( l. v. )
3
œ
â F
P 4
»30
4
U
# ϴ ..
( l. v. )
2
â ! P – ..
1 3
1
p
28
3 16
2 8
3 16
j 5:4œ
P
f
e
or 4
5
P– . ‰
â
*
#÷
® ¥ .. œ .. P
j 5:4œ
– – – # – # – # – .. .. p
œ œ# œ . œ . â ! 3 F 2 1
l. h.
p
¥ .. œ ® ¥. œ.
j 7:5œ
( l. v. )
»£•
p
U
®‰
!
U 5
U
#œ ®‰ $
3
68 !
f
6 䜜 . 8 2
2
r 5:4œ
5 ¥œ 8
( l. v. )
p j
3 œœ .. 16
5 8 5 8
1
molto esitando (molto accel. y rit. ad libitum) or 2 *
>¥ . œ.
6 8
1
3
4
poco rit.
accel.
r 5:4œ
r. h.
a tempo
5 & 8 ϴ .... F
5 ‰œ 8
r 3:2œ
e
œ# œ œ #œ œ #œ œ #œ. # œ œ 2 nœ n œœ .. n œ n œ n 8 #œ #œ #œ. # œ 2 3 1® œ œ œ 4 "
j 5:3œ
85
!
®‰ P ®œ n œ œ œ . .. œ#. œ# œ n œ n œ . œ
l. h.
98
"
ä
j 5:3œ
! œ. 7 #œ. 8
Guitar
F
rit.
accel.
® ¥. ¥œ œ . œ¥ .. # œ¥ .... ( l. v. ) j 7:6œ â â P –. F F
l. h.
e
ä
a tempo
poco rit.
( l. v. )
¥ .. œ ..
–
F p
–
S ¥œ .... ÷> â1
( l. v. )
4 r 7:8œ
!
#œ 3
p
* Dependiendo de las cualidades de la guitarra y las cuerdas, elegir la cuerda con más sonoridad. Depending on the specific qualities of the guitar and strings, choose the string that speaks more clearly.
– – – #–
j 7:6œ
P
1
P
œ ® œ #œ 4
2 8
®‰
œ. 1
#œ.
3 16
– – – 28 #– – 3 16 p P 2 œ #œ 8 p
œ p
r 5:4œ
œ œ
3 16
»30
12
e
(molto esitando) poco rit.
s.p.++ *
U
101
3 & 16
œ.
!
# ϴ ..
f
P
( l. v. )
–.
3 16
Guitar
28
1
j 3:2œ
–
28 ‰
–
S
÷
P
r 5:4œ
48 P
ϴ > f
¥
œ p
5
–
e
3
48
a tempo
r 5:4œ
œ
ritardando
1
4
" 28 œ
3 œ. 16 J
¥œ
>U
»54
rK 3:2œ
œ
**
ä # œœ 28 # œ. 2
‰
3 16 ϴ F 3 16
5
4
1
4
P
28 ϴ ..
rK 7:8œ
28
œ œ #œ œ #œ #œ. œ. 48 #œ œ œ œ. œ œ œ . #œ
p # " #œ #œ #œ œ ® $ 2 3
»38
p
ä #œ
1
3 16
F R
r 5:4œ
** Quinta cuerda, LA # : octava baja. Fifth String, A # : octave lower.
Cinta
* Extremadamente cerca al puente: usar la uña únicamente. Extremely close to the bridge. Use the nail only.
ca. 08:34 J
poco rit.
accel.
U
( l. v. )
r 5:3œ
105
3 & 16
Guitar
¥ œ
n ¥. œ.
¥ œ
ϴ
#œ.
3 16 2
œ. 3 œ 16 J
a tempo
j 5:4œ
r
# %– . – #œ
4 ‰ 8
( l. v. )
f
# – 48 – p
4 8 Kr 7:6œ
#œ 1
p
f
e
ritardando
>o ÷ œ ä ¥ œ S p #œ s.p.
¥
o œ
++
œ #–.
#–. p
#œ.
rK 7:8œ
(p )
> #œ
4
r 7:8œ
( l. v. )
( l. v. )
1
f
»30
p
3 16 n ϴ
n ϴ
#œ Kr 5:4œ
ϴ
poco cresc.
3 #– 16 ( >)
1 8
#–
81 # œ–
( >)
3 16 œ n œ
#œ.
3
Kr 5:6œ
p
( >)
#œ p
œ. 1 8 œ.
rit. Kr 5:4œ
o œ.
( l. v. )
#–. rKK 7:8œ
U
n äœ #
Cinta
ca. 09:10 ***
*** La duración final puede fluctuar entre 09:10 y 09:30. The total duration of the piece can fluctuate between 09:10 and 9:30.