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1 | i | vuyys TARREOA FAL RRS tino case coe, UA NS RV IFA HEE x i é p: % (A isa BRR - — eh ETARREGA semen EMO FLL ALIN TARO CME TE AT. RET OTe Fee UNWIRED ALS CREWE PORK EO IER te ORAS IEE IA IIE MELE COPEL. Bonk a tempt, SWE LA OF 4 RID 5 GMO Ry SERENA BLE OTH HE RO BMS MTREME RBM L. MURIEL rik E WOOL & L te EL TRIMER LOAF AREAL. PHILO HBC EME IED 8 L Py BRON I YA CROMER TOA Eo TU BOM SCHED DRAAL LE LIER, PEL OMEIMET 7 a 7 REE RIE MORE i ZDRASML OTE LAST. MULT BARD RUE SOE RROMME LUA SILL TEM, HOMSRAN TBC SOL OMB te: DE GARRATS OS & EM THE RT EBAMER EHDA, MEER HAH SOL TER at Page Men ‘e. omnot Seapsan PREFACE Francisco Tarrega is considered the father of modetn guitar music. During the period of his lifetime, the style in vogue was the large-scale orchestra piece, ‘with its complicated harmonics and intricate textures. The guitar, which is incapable of imitating such grandiosity, was on the verge of being forgotten as a musical instrument. Tarrega proceeded to emphasize and develop the inherent ‘melodic qualities, he lytic character ofthe guitar, while at the same time develop- ing to a high degree new fingering and performance techniques. Along with these advancements, he also created a completely new style for solo guitar ‘performance which has endured to the present day. It is not too much to say that all modern guitarists have heen influenced by Tarrega. However. in recent times, the difficulty of meeting the purely musical demands of ‘Tarcega’s compositions has resulted in less and less attention being paid to them. Ic is my hope that the present volume of compositions will aid the guitarist in becoming acquainted with Tarreps, whose works are, afterall, the very essence Of guitar music, and in so coming to know them, will acquaint himself as well with the rich variety of musical expressions available therein. would like to express my appreciation to Mr. Masami Okabe for his assistance in preparation of this book. Yasuo Abe BR STP tegrima —— PFU-T Adelite ~ YUIYS Mariete QW-P Moria — +B Rosito = WOAZOB fi Columpio — BS vei (maz ura), tr Lo Moripase — 15 g7d te 15 IVY SRM Vals on Re nm IWS evan ——— $$$ BOR Alborada— AWA Mezecke $$$ $$ 24 ARDY Minyete — leg BIB Endecho _ a VST-IP Mologvei aa L- PRM do yy PUNY TIORMH : 34 B Sueho (estudio de trémolo) 38 PI-WOMMESRBEY. Estudio Brillante (J.D, Alord) ———-_________-_43 PSCPRBRH Copricho Arabe WIRE 981 HB Preludio No.1 BR BW2B Preludio No. 2— IME HBB Proludio No.3 FIRE AB Preludio No, 4-——————- MIRED WEB Preludio No.5 IRE HOM Preludio No.6 BIE $7 BH Froludio No.7 HIME SBI Preludio No. e————— Eee HIME ROM Preludio No.9 . eee 7 HiME MAO Preludio No. 10— HIRED MAN Prelodio No.1 me B12 BIER 9819 we He mea Se Preludio No. Preludio No. Preludio No. Preludio No. RI ZAOMARILE SRM Voriaciones Sobre el Cornaval de Venecia — BRAMAN Gram sata de Concierto————— FRAGEMEMBG Toma y Estudio de Concierto (S. thalbers) ANTYBLUI—F Serenata Espafola(/. Malats) — ARDYK Minueto (G. F. Hande!) ———— ae 5— Choral (G. F, Handel) ———_—~ —___— ARTY Minveto (lM. Haydn) PYTYF Andante (J, M. Hayde) — SWI Py torgo Assoi (1. M. Haydn) ARTY Minveto(L. van Beethoven) FURTHER Morcha funebre(L. van Beethoven) ARLYK Minveto (F. Schubert) BIN Adieu (F. Schubert) RBLD¥ Momento Musical (F, Schubert) — IVY Vals(t. 4, Gerlioz) REROBK TIA Romanza sin Polabras op. 19-6 (F. Mendelssohn) 118 7 a 8 NZRAOMR XH Romanza sin Palabras op. 30~5(F. Mendelssohn) 12 PYYARYS Cantonetta(F. Mendelssohn) —— _ ‘ez HOTAS1 Reverie (R Schumann) —————_____—_—— 7 QVYA Romanza (R. Schumann) ————— — __ aa PYIVF 4-1 NYIE-L Andontino Contabile (R, Schumann) —130 FP Berceuse (R. Schumann) ——— DIY Vals (F. Chopin op. 34~2) — LII-~Y Nociwrve(.Chopin) ——— YAIVA Mazurka(F. Chopin op. 33-4) — MIRED 158 (BEM) Preludio (F Chopin) — MME 7B Preludio F. Chopin) ———-— D+ IOT Le Poloma (5. Yeadier) Lagrima (preludio) L a7 UF ¥. Tarrega Andante Fenn es oe t ese = = i 3 é T i To. = Marieta (mazurka) VUnye a idan. do atempo 0 s iO) Maria 4 $ VU-7 < ag ot F. Tarrega a d iafma 7 2 T “ene 7 F if P i art ¥. Tarrega a El Columpio OOP TOR Suefio ( mazurka) F. Tarrega - 7 un poco cresc. ee ig rit I Fristerioso i ‘D.C.al Fine La Mariposa o- » ee _t ee F. Tarrega Fr pF UD ? p > _ wu F p roo? [TIAA ANAT ” i phates add o ° = iit if 4G = Vals en Re Dey =i F, Tarrega F ? P [@ritard, a tempo Fine Alborada ( capricho) WO F, Tarrega ar.19 ar.19 >> 99T4 Endecha @-pD (preludio ) x OK F. Tarrega cr een Malaguefia Va7T-=aY F. Tarrega C4. err oO Se Danza Mora A— 7 AS F. Tarrega TER ttre Gg i H . gume Fas.att Recuerdos de la Alhambra FMINY TS ORB F. Térrega 8 est Allegretto molto rit, ueno {estudio de trémolo) gS etempo BABB < . i 3 3 % < iyi iia fia x ee EE ET a c ee ——= r poco rail 40 Ai WRB Ba = pp as ltl Ee Z —SS —S—S r ine EBs By sme a ; = ——— TS aE By molt leg imi wi. 7 ? dim —at| fabs F 77 RT te ie ARLBLE ay $i ee pereerrencrsestee! : ° Pe tempo ? a a f ila Rie pecct perk +BY ge =e eBertpecNe I = ee —_— or a ee ee eee wm Bi 1 fr eH An F r r Estudio Brillante TINO BE J.D. Alard F, Tarrega cares ha ace et did ote ne ey ane we Ak wy vECe oc ¢ we ee eee eek week Capricho Arabe THIET aE F, Tarrega pig PE ies : _ SBARS 7?) ee Sa HI +e Hit 4H i 4 i] 4 4 Preludio No.1 Rizth 1 P poco rit, 31 Preludio No.2 nized 2 F. Varrega 5 poco ten To Hh + a _ a rere 7 + ? molto rit. = = = 2 = 52 Preludio No.3 Rid 3S F. Térrega Allegretto decresc, tree Ln nage ager Preludio No.4 aie 9 A . ce Tarrega CO ——— =. 1 C7 ca aa a tempo y= 54 Preludio No.5 Rizeth OE F. Térrega Andante Sostenuto C2... —— ie a un poco cresc. Preludio No.6 Risth 6 F, Térreya Preludio No.7 Hh BTR F, Tarrega Preludio No.8 Ash HBS Preludio No.9 Rh OB C2 ca F. Tarrega F. Tarrega 37 58 Preludio No.10 Aish | 10 Preludio No.11 Byes $611 pel a 1do * F. Tarrega a treme Y ie ¥ x * r ’ Preludio No.12 Bi SHh B12 F. Tarreya Preludio No.13 RizeHh 13H Risedh BLE F. Tarrega Aan oe aero HE SRC ee Preludio No.15 BiH | 1S F. Tarrega ce ca cs ts 62 Andante Variaciones Sobre el Carnaval de Venecia na N= AOMARIS £ SBE BEI pre Tp pet vom Em why lo : " eal 63 Tema Allegro ee VW “MI al) yl WH all 7 +H Tits -y wi. phage» COURT AE RE Ee Var.5 2 re 1 Gran Jota de Concierto RMRASAKAZ Introduetion Cs cs Chee eee oe op OD aa for ete ee BTiS Th ont 2? ard Var.5 F go ied J og = F ali ee em tt Kai tm ee jatad 289 yid ad oy ddd dy FO FR RF FO FR ror FP 4 (1) Tabalet 8 compases ad libitum VVOVVV VY VVVV VVV VY OVVYY VY Y VVVY OY 97 Ly HOSE SHIH DUNO 2 DUKE DC ABODE Var.8 th we doy ddd wide dy ya S¢y ade dds dy dy 4 J Tabalet T F T 2 44g dda a4) dy te je 2 T T 7 F F F T ‘Tabalet rallentando | nm PAMMECLESIEINL BE IE Var.9 76 Ver. Yar. 13 Var. VPA REMLRC, BRAMAN EH EOC mano izquierda sola HB EROTOS Var 15 RPE COK Var.17 tambora . 4 FORA EFRITOMOIEG ERE) Var.18 verve ee eee eee ae Var. 24 Var. 25 al Tema y Estudio de Concierto REAAEMCMA ‘S. Thalberg, F. Tarvega Allegretto Sacuerda. =. 4 é 82 ae em I] ~ I wU} 8 ~~ 7 r 1 oe MI ~y a os Famers ett ° a Pa Peoc wee Tle oe PT FD leggiero 85 ca... cresc Poco a poco Serenata Espafiola ANA Y RRIF co... J. Malats F. Térrega = SESS 8 A RTE Hie ne Hie Minueto ARDY @-p GF. Handel tate C2. Choral uae G.F. Handel F. Tarrega : c2 pe 98 Minueto ARLYb J.M. Haydn F. Tarrega > Andante oa TUHUF J.M. Haydn F. Thrregs cz. ad id oF = 1 ect 98 Largo Assai SNAP yA J.M, Haydn c ca... . F. Tarrega ep? a 100 mezza voce CL py. 34) 101 d- je : Aff EE ap tt crs . ce <3 ee qa eee eee £8 25 Be Bs 5 a ee a 2H g Ek 2x ae oe 102 al a 4 I sa ay 1K 8 an 1, a tempo al a Marcha fanebre BEA 17 HEM L. van Beethoven “arrega PR pe Ere t sap 108 Ee 109 F Schubert F. Tarrega Minueto ARDY b Bd a ral es tr a ee es aa yy 7 IIDIDIIIDG ( He uo r@ Trio S g : PPP molto legato + af. nL 12 ~ f &: Adieu 3 = Ba op NF e201 F. Schubert F. Tarrega cz, cay Momento Musical us 16 Vals PUY (PrIAPMM EAS) ce. ae) d a i LH, Berlioz F. Tarrega te \ te he be - iw w * 2m ae a a om a | ur 8 Barcarola (Romanza sin Palabras) F. Mendelssobn N= ADF ELT F. Tarrega Andante sostenuto (eam GP ee ar39 ar39 ar.199r39 ne Cheoaad 120 Barcarola (Romanza sin Palabras) NSADTK = a8 dos ar.8dos F. Mendelssohn F. Thrrega mn 122 Canzonetta AUIAR YB F. Mendelssohn Allegro moderato(J~76) ~ CHK 123 Un poco pitt mosso eee eee hry 125 126 EP EVES ES ES IS EIS ESSN 128 Romanza uoyvy,z + ¢7 F. Tarreza asi + i cml yal -awatorc cre Pa | 130 Andantino Cantabile TYILTA-7 APIE-L R. Schumann co F. Tarrega ha Hie Ha 2 132 2 Berceuse + ¥ B ce a we ee Vals DILY tPiK34D2 dp imi 5 a{e 135 omy aly idly 138 JIB-Y F. Chopin F. Térrega Nocturno | Andante M40 ML 142 Mazurka AIA MEABIOA oD ait pr Tne r r 2: i a] | fh a Giada el oni Vv fe “4 4 cy ce 5 Upon c ce C7 c6e C7 ce coc oF —— . Wasi. | , G jo >a 5 "fo. fo i i a | iis ai cy wi a" ai de ? Preludio BUS B15 (MAZE) Sostenuto con espresione cn oc: cr ur F. Chopin F. Tarrega 4 48 Poco pilt animato VOM ae 130 Preludio TeV ak BTR F.Chopin @-D Cn F, Tarrega La Paloma 7 - Wage S. Yradier @-d <3~ F. Térrega ea oni po 7 ceEORS—V9Ay Gi aa OES a (ESR25—an, 25-aeeOEnoT DA (te eo—ons: See Davy IeS Os) SSeS? __s = aan BS005z3—ex: HaSUoSS vzroy-e | [BROSNECAONN, me Cnicee [F206#9—ORDO=MRGM gg1h.88| [9A 2a079—nam! aaa ALS RM? [AR IAS HM | [uaa Les —neim [pms 5—am pierce Sidean (yumozra—6 [avseorsa—* [aaneorsa—K pop-KeOTFa—F DalP-sBorFa- (n= 78OzFa—F WimoxFa=K DaNeorFa-F (RBS 2 ov omowe (osS yam - ¥5—YOORDO=E #5—GNB (ADP) 2 5— BRT RD ES—IMO Sea [LIEN PYI—VIES— TBM wan un F9-WMRERTARAS ¥9-WMRERTAIA? Fe=50S7: peas ea] DIT Me sos Ron ey Co e a revannan © jan ——axanenami, . e ue er | Teummesao-0n tere

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